Press      New press articles only      German press

Posted by:Webmaster
Posting date:09.12.2011 - 10:47:52
Submitted by:Maya
Article date:07.12.2011
Source:click here
Subject:Teenage violinists joy at meeting his music hero
Content:

A teenage violinist who suffers from a rare skin disorder was overjoyed to meet his musical hero.

Geoffrey Hames has severe ichthyosis, a genetic disorder which causes his skin to grow and shed quickly.

The 16-year-old suffers constant soreness from head to toe, and has to wear gloves to protect his sensitive fingers when he plays the violin.

Despite this, the teenager, who lives in Blaby, has achieved a grade five qualification with the instrument and aims to follow in the footsteps of his idol – renowned classical and rock violinist David Garrett.

Geoffrey has been following the career of the 31-year-old German-American musician for four years and last week they came face-to-face thanks to Leicestershire charity Wishes 4 Kids.

Geoffrey said: "It was very exciting. I have been a fan of David's for years because he is so fast when he plays. I want to be as good as him.

The charity, which organises special requests for unwell children and teenagers, took Geoffrey to the Shepherd's Bush Empire to see David Garrett perform and arranged for him to meet the star beforehand.

"He was really nice and he signed an autograph for me and gave me some CDs," Geoffrey said. "We then watched his concert and he was brilliant."

Geoffrey, who attends Ash Field Special School, in Evington, Leicester, and plays with Leicestershire Schools Symphony Orchestra, hopes to achieve the top grade eight violin qualification and carve out a career as a pop music composer.

His mum, Carolyn, said: "He has done very well with his music.

"It isn't easy for him playing while wearing the gloves and his condition gets very uncomfortable.

"He has to be covered in cream all day every day, but he is determined and dedicated to his music.

"Wishes 4 Kids arranged for him to meet his favourite musician and he had a fantastic time.

"David is big in Europe but doesn't tour in the UK very much so Geoffrey has been waiting for years for this opportunity."

Russell Brickett, from Wishes 4 Kids, said: "We found out Geoffrey was a huge David Garrett fan so we were really pleased to be able to set up a very special occasion for him.

"He is overcoming a condition which makes things very hard from him, so it's great that he has had a bit of a treat."


Posted by:Webmaster
Posting date:09.12.2011 - 10:30:31
Submitted by:Soleil
Article date:01.12.2011
Source:click here
Subject:David Garrett the Beckham of the violin
Content:

Adam Sweeting meets David Garrett, the pin-up who plays Nirvana and Led Zeppelin on the fiddle .

At the age of 31, violinist David Garrett has already had two careers. He signed to the classical label Deutsche Grammophon when he was 13, which led to him recording Mozart concertos and Paganini’s Caprices and playing concerts with the world’s leading orchestras. But today, you’re as likely to find him in a sports arena playing music from his Rock Symphonies album to shrieking hordes of fans as to hear him exploring Beethoven’s violin concerto in some stately concert hall.

Which one is the real Garrett? Both, according to him. In person, with his Kurt Cobain-style blond hair, motorcycle boots, jeans and medallions, he looks like he’s about to stroll onstage with a metal band, but he swears that classical music will always be in his blood.

“I never stopped playing classical music,” he says, in fluent English inflected with both his native German and a trace of New York, where he went to study in the late Nineties. “But when you become really accomplished on the violin, and you can play the technical stuff from Paganini onwards, you can literally do anything. It’s just a matter of what you really want to do with music.”

It’s the rocky Garrett who will appear tonight at the Shepherds Bush Empire in London, leading his five-piece band through his own arrangements of such rock anthems as Nirvana’s Smells Like Teen Spirit, Aerosmith’s Walk This Way, Metallica’s Master of Puppets and Led Zeppelin’s Kashmir. A particular highlight is likely to be Vivaldi vs Vertigo, where he rams together the thundering riff from U2’s Vertigo with the Winter Concerto from Vivaldi’s Four Seasons. Bono liked it so much he wrote Garrett a congratulatory letter.

“I don’t agree that rock music is less technically developed than classical,” Garrett says. “Even if a rock song is fast and exciting it still has that sense of relaxation, because it’s never on the beat but slightly behind it. You need a good sense of musicianship to achieve that. And if I listen to a great guitar solo by somebody like Eddie Van Halen, I ask myself if there’s some inspiration there I can use for the violin.”

Musicians who dare to step outside the classical bubble in search of broader, and younger, audiences usually hear the doors clanging firmly shut behind them. Yet such eminences of classical music as violinist Itzhak Perlman and conductor Zubin Mehta are happy to endorse the quality of Garrett’s playing, while his revered violin teacher Ida Haendel argues that, “If he loves rock music, let him do it. He can still be a wonderful classical violinist and do rock.”

Garrett points out that the musicians he truly respects are the most liberal when it comes to crossover projects. “Perlman loves doing those kind of things, and [cellist] Yo-Yo Ma. They’re all about music, not what kind of music, as long as the quality is there.”

It’s Garrett’s parents we have to thank for their son’s career path, though not in the way they planned it. His father, Georg Bongartz, plays the violin and runs an auction house in Germany which frequently handles priceless violins. His mother, Dove Garrett, was a ballerina in Washington DC before she came to work in Germany and met Georg. Spotting David’s musical talent early on, they set about hothousing him towards a classical career (David used his mother’s surname so as not to appear to be trading on the Bongartz name in Germany). It was all going well until it dawned on the teenage David that everybody was having a say in his future except him. He decided to strike out on his own, move to New York and study at the Juilliard school.

“My life in Germany had been extremely sheltered. I had never taken public transport, never gone grocery shopping or known how to do the laundry. I never went to buy clothes because my mum always did that for me. When I told them I was going to New York, they said: 'If you want to do it you’ll have to get the money for tuition yourself.’ I guess they wanted me to fail, which is kind of weird. But I didn’t want to prove them right. It gave me really strong motivation.”

One way he paid his bills was by modelling menswear, appearing in catwalk shows and being photographed for Vogue wearing Armani. This helped to earn him the nickname of “the David Beckham of the violin”.

He puts his head in his hands when I bring this up. “I stopped doing that eight years ago!” he wails. “Jesus Christ, it keeps following me around… I needed to pay for tuition, and we had very limited time off from school. I had to come up with quick money, and modelling was the easiest way to do it.”

Naturally, Garrett’s pin-up qualities haven’t hindered his progress as a popular violin icon. Anyway, he adds, he’s only following in the great tradition of flamboyant crowd-pleasing fiddlers such as Fritz Kreisler or Pablo de Sarasate.

“In the end, are you just playing for 20 critics, or are you playing for thousands of people and giving them a great time?” he says. “It’s your responsibility to grow a new audience for your generation, because who else is going to do it?”


Posted by:Webmaster
Posting date:09.12.2011 - 10:27:25
Submitted by:Maya
Article date:30.11.2011
Source:click here
Subject:Beethoven rockstar E la versione di Garrett
Content:

TEATRO FILARMONICO. Il concerto di lunedì. Il violinista tedesco-americano è il prototipo del «crossover» totale: dai Led Zeppelin è passato alla Quinta sinfonia

David Garrett ha capito tutto. Se la tendenza del rock, da qualche anno in maniera più marcata, è affidarsi a un orchestra, seguendo arrangiamenti sinfonici (vedi Metallica, George Michael, Sting, Deep Purple...), il violinista tedesco-a-mericano si dev'essere domandato: perché non invertire il processo? Perché non immaginare un musicista classico che affronta il rock? Ed eccolo qui, allora, sul palco del teatro Filarmonico il prototito del «crossover» totale: l'abbraccio di due mondi che - segreto di Pulcinella - sono da sempre molto vicini: l'hard rock e la classica, le chitarre elettriche e i violini, gli arrangiamenti maestosi e i riff monumentali. Per il suo concerto al Filarmonico, tutto esaurito da settimane (altra scommessa vinta dal promoter Eventi), Garrett insieme alla sua band ha pensato a una scaletta molto «rocciosa», aperta dalle note incalzanti di Kashmir dei Led Zeppelin. «E dopo un brano del genere, voglio suonarvi», ha detto al pubblico, in parte internazionale, che applaudiva entusiasta, «un brano di un'altra stella della musica, un perfezionista, una vera rockstar: Ludwig van Beethoven». E non è una battuta: il biondo David affronta il primo movimento della Quinta Sinfonia, più che con brio, con una vera e propria gioia contagiosa. E non è solo un musicista preparato e un bell'uomo (avreste dovuto vedere l'assedio delle fan, per strada, fuori dal teatro, alla fine dello show,,,): Garrett ha anche un certo senso dell'umorismo, forse un po' troppo teutonico per scatenare la risata. Insomma, esce il suo lato Bongartz, cioè quello del padre, un avvocato tedesco, più che quello americano, cioè quello della madre, la prima ballerina Garrett. David racconta dei terribili occhiali da miope che da ragazzino non voleva mai mettere, «e per questo i ricordi sono sfocati: allo stesso tempo, però, non vedevo il pubblico davanti a me e non ho mai avuto la "paura da palcoscenico"». Convince di meno, ovvio, con i brani propri, come la Rock symphony che dà il titolo al suo recente disco, una specie di marmellata delle parti più sdolcinate delle ballate stile Scorpions. Meglio Live and let die di McCartney, la stessa che sir Paul ha proposto nei suoi due concerti italiani. Avesse sentito la versione di Garrett, l'avrebbe amata di sicuro. Un po' troppo turistiche, invece, le versioni della Zorba's dance dal film Zorba il greco e, per restare in tema marinaresco, di He's a pirate da Pirati dei Caraibi. Più interessante l'aneddoto sulla prima esibizione come musicista di strada. «A 8 anni ero a Firenze in vacanza con i miei. Ho visto in un negozio di giocattoli una macchinina; la volevo a tutti i costi ma i miei hanno detto no. Allora mi sono messo a suonare il violino per strada e in poco più di un'ora ho raccolto i soldi per comprarmela. Ricordo di aver pensato: Hey, mi sa che questo potrebbe diventare un lavoro vero...». E finchè suona meraviglie come Smooth criminal di Michael Jackson, Master of puppets dei Metallica e Smells like teen spirit dei Nirvana, con la veemenza di un violinista infuriato, qualcuno che l'ascolta (anzi, diverse migliaia di persone) lo troverà sempre.


Posted by:Webmaster
Posting date:09.12.2011 - 10:20:48
Submitted by:Maya
Article date:24.11.2011
Source:click here
Subject:Star violinists debt to his Jewish teachers
Content:

If you had to work out David Garrett's occupation simply by his appearance, you would be unlikely to guess that he is one of the most gifted violinists of his generation.

With his long hair and skull ring he looks vaguely heavy metal-ish but, then again, with his Roger Federer-esque good looks he could also be a model. (Garrett actually did some modelling to make a little extra money while he was studying.)

The looks, the laid-back manner and the charm are all part of the David Garrett story - his showmanship has made him one of the world's most bankable classical crossover stars and he is equally comfortable playing with a rock band or with a symphony orchestra. However, his childhood was anything but rock 'n' roll - from the age of four, he spent long hours practising the violin and by eight he was regularly playing recitals.

Garrett is German, born in Aachen (he uses his American mother's maiden name). However, his musical education was, he insists, "almost 100 per cent Jewish".

He started to play when he picked up his brother's violin aged four. Within a year, his father was mapping out a career for him. Says Garrett: "My first proper teacher was Zakhar Bron, who pretty much established my technique. After that I came to London to study with another Jewish teacher [Polish-born violinist] Ida Haendel. Ida is still a huge influence."

And then there was Isaac Stern. The legendary musician spent time with the young Garrett and recognised his prodigious talent.

"For me, he was a god-like creature," says Garrett. "He had a wonderful way of saying little things that made a big impact. In the end he was even more important than I knew at the time. Sometimes you need a bit of time to think about what people have said to you. He told me that I was one of the most talented people he had ever heard but that I needed to be careful not to do too much too young."

This advice was important in persuading the young Garrett to study at the famous Juilliard school in New York, against his parents' wishes. "They thought I was the finished article. I can't blame them for that but I felt there were a lot of things I hadn't discovered."

At Juilliard he came under the tutelage of yet another Jewish virtuoso, Itzhak Perlman, whose influence on Garrett's career was also crucial, but whose personality and way of teaching were in contrast to that of Stern.

"He didn't take many students on - only about five at a time, most of them Jewish by the way. He was a more balanced character than Stern, I would say. Perlman showed how much passion he had for music but, when he was working with people who had talent, he liked to joke around. He's very motivating to work with, though - he really got your act together when practising."

It was at Juilliard that Garrett began to branch out. "The moment I got there it was like a breath of fresh air. For the first time, I started listening to a lot of music that was not classical. My friends would say to me: 'We need music for this or that'. Most of it was outside my comfort zone, but I loved experimenting, finding out what I can do on the violin."

In deciding to combine different musical forms, Garrett realises he is doing something of which many in the classical world do not approve.

But he says: "The other kinds of music I do are meant to bring people to classical who wouldn't otherwise be there. That makes it all worthwhile for me."

He adds: "The violin can be a very lyrical instrument but it can be a showcase for the flashy and the virtuoso. And I do love making people go, 'wow'."

David Garrett and his band will be playing at the O2 Shepherds Bush Empire on December 1.


Posted by:Webmaster
Posting date:09.12.2011 - 10:10:11
Submitted by:Maya
Article date:20.11.2011
Source:click here
Subject:Fiddler on the rise
Content:

The world's fastest violinist bows to rock _ a crossing of genres to reach young fans and make a statement of intent for classical music

David Garrett studied under legendary violinists Ida Haendel and Itzhak Perlman, played with top orchestras and conductors such as Zubin Mehta and is in Guinness World Records as the world's fastest violinist playing Rimsky-Korsakov's Flight of the Bumblebee.

Yet when he arrived in town last month to promote his crossover album Rock Symphonies, his introduction to the Thai media was as "the David Beckham of classical music". It was a nod to his looks and star quality _ a chorus of calls from female fans greeted him at one promotional event for the concert _ and appearances on talk shows around the world, including the Oprah Winfrey Show.

While Beckham's social and footballing judgements over the years might make him a questionable paragon of crossover superstardom, there is some logic to the comparison. After all Garrett, like Beckham, is exceptionally good at what he does, has long sandy hair, worked as a fashion model in New York, attracts many fans who could care less about his career pursuits ... and is named David.

Brunch sat down with him to learn more about the man behind the curious construct of a classical music celebrity.

Garrett, 31, grew up in Aachen, Germany, to an American ballerina and German lawyer. Born Bongartz, he uses his mother's surname professionally. His flawless English carries only the faintest of Teutonic overtones but he insists he was raised German rather than bilingually.

"Everything is merging," he says, "so I don't feel I was brought up between cultures. My mum and dad decided before school it would make sense to speak one language. All the English I know I learned in school."

While classical music is often associated with "old Europe" and rock with US brashness, Garrett insists his choice to cross musical genres was not due to his family roots.

"My parents were quite conservative, both more into classical music. Let's say the person I am now, I don't think my parents have much to do with that any more. They would have chosen a different road. At some point you've got to have your own mind."

The great violinists who influenced his early career, he says, such as Perlman at the famous Juilliard School in New York, constantly emphasised to him the importance of having his own mind.

"I think the most important thing I learned from the great musicians I worked with is that you can play the violin well, but everything else you have to learn for yourself. The sound is too genormt [normalised] now, where everybody keeps sounding alike," he says. "And if you look back, especially in the '20s, '30s, '40s, '50s, all of the violinists had their own idea of sound, of break and vibrato and bow speed, everything was more individual _ and Haendel, Perlman, Isaac Stern, [Yehudi] Menuhin, they all emphasised that in the end it is dangerous to listen too much to other violinists."

That Garrett is his own man is apparent during the photo shoot during our interview. He plays violin for the camera but when asked for a different pose he insists on continuing to play instead, demonstrating passion for his music more than petulance after a draining morning flight from Singapore.

"You have to have the guts and the balls to come up with your own mind," he says. "There's enough information in the score, and information that's not there you have to come up with yourself. It's probably a little more scary to convince people of your own ideas but that's what music is about _ it's an individual take on the composer."

The New York setting at Juilliard School suited Garrett much better than London, where he was expelled from the Royal College of Music for not attending classes.

"Everybody has to find the people around them to give them the right inspiration," he says pensively. "Maybe it wasn't the right time for me in London. Being able to work with Perlman in New York gave me a different attitude, freedom and motivation. For me Perlman was always an icon, and I wanted to go to New York first, while London was a sort of compromise. Compromises never really turn out great."

Garrett stresses that musical collaboration at its best is not about compromise. He has often worked with full orchestras and imposing conductors including Mehta and Rafael Fruhbeck de Burgos, yet he's been able to find harmony between his ideas for a composition and those of the conductors.

"Music-making is about listening, communication and adapting to what the other person brings to the table," he says. "If you listen you automatically communicate and change the way you play."

Garrett says that while everyone goes in with opinions about a composition, the actual performance is an organic process that must be allowed to develop in the moment. "It's really a sense of knowing what's happening around you and being able to answer quickly. If someone brings a different emotion to the stage you have to also adapt to that and the emotion you've rehearsed. It's very important to have music be living."

Despite the number of orchestras struggling for funding, Garrett says he is not worried about classical music's future.

"Classical music is probably the most healthy music of all," says. "I want to see jazz and R&B and rock survive for 300 years."

He says that many orchestras still receive public or government funding but that this is no reason for those promoting the genre to remain complacent.

"Even if you have a great product you still have to promote it, you have to present it and make sure people pay attention. Every other musical direction does it, and classical has even more legitimate reason to do it because of its quality."

Rock Symphonies certainly commands attention. The album contains songs made famous by Nirvana, Wings, Metallica, Led Zeppelin, John Fogerty, Guns N' Roses and Aerosmith, mixed with compositions by Vivaldi, Bach, Beethoven, Grieg and Alveniz, as well as original pieces, all in a fresh and virtuosic violin-heavy voice.

"Everyone has their own path to promote classical music," Garrett says. "For me it was crossover. I'm sure every classical musician has their own take on what can be done, but it's important to do something to promote the music."

Garrett likes to alternate pure classical with his crossover albums, so in the latest, Legacy, just released in Germany, he plays Mozart, Beethoven and Bach. For the next album, he says, he is undecided.

"Music always has to live. You have to have the education to know what's happening around you [musically]. You can't be ignorant. Once you have the knowledge, you have to go back to the original reason you went into music, which was to have a good time and enjoy it."

He says such flexibility is nothing new.

"If you look back, especially [Niccolo] Paganini, how many classical pieces did he write variations on? Why did he do it? Because he knew audiences would know what was popular at the time," he says. "I'm doing the same, taking something which is mainstream and making it virtuosic and interesting _ that's how you connect to audiences, that's how to keep interest in the instrument, that's how you build a bridge. I find my way of making music more traditional than just playing, at least from a virtuosic point of view."

Garrett has been quite successful at reaching across genres and ages with his albums. He estimates most of his fans are between 25 and 40; however, "there are older people and also young kids of 12 or 13".

He says he feels honoured to be an ambassador for classical music.

"If you have a passion for it you have to find your way in it. How great is it to find new audiences, to promote something that has such quality. I'm going to do everything in my power to have as many people listen to it as possible.

"The biggest problem with classical music is it's nowhere to be seen. The only thing I can do is try to make it visible. From my experience, once people listen to it without prejudice, especially young people, they fall in love with it."

He has been on judging panels for competitions in order to develop independent musicians' careers and give something back to music.

What would be his advice for a young musician trying to make it in this difficult industry?

"There's so much pressure and so many obstacles, even if you have talent. You have to really believe in yourself every second and fight for what you want to do. You shouldn't define success by money or having a lot of concerts. Success can be defined by giving yourself goals and reaching them. Everything else is secondary."

Garrett started playing at four and within a year was winning violin competitions. By 13 he had two CDs and several TV appearances to his name. By 14 he was the youngest soloist in Europe and by 17 he had played with the Munich Philharmonic Orchestra under Mehta. His rise was meteoric _ so was he always confident of his own talent?

"F***, I don't even know now," he exclaims. "I knew that I could play the violin well, that's it. Talent is something you have to grasp. I think talent is 90% hard work and 10% of pushing yourself even beyond that."

And by pushing himself, he hopes also to push an entire genre back into lasting international prominence.


Posted by:Webmaster
Posting date:09.12.2011 - 09:36:41
Submitted by:Maya
Article date:17.11.2011
Source:click here
Subject:Taking a bow
Content:

WHILE some may believe that the growing emphasis on child prodigies and the increasing focus on a performer’s looks are undermining the highbrow traditions of classical music, fans of German-American David Garrett would argue that his refreshing approach has managed to awaken an often tired and staid genre.

A gifted violinist as a child, by the time he was 13 Garrett had recorded two CDs, appeared on German as well as Dutch television, and given a concert in the residence of the President of the Federal Republic of Germany.

Not to be outdone, after being offered the chance to use the famous Stradivarius San Lorenzo, at 14 he was quickly signed by Deutsche Grammophon. Adding to his folklore, Garrett studied under Itzhak Perlman at Juilliard in New York, supplementing his income by working as a model.

In the years since his graduation in 2004, with his interests diverging, Garrett seized the opportunity to reach out to younger fans. The year 2009 saw the release of a self-titled album, which included a version of ‘Dueling Banjos’ and an interpretation of Michael Jackson’s ‘Smooth Criminal’. A year later he released Rock Symphonies, an album featuring the violinist’s take on material by Nirvana, Guns N’ Roses, Aerosmith and Metallica.

With recent release Legacy restoring him to the world of more classical inspiration, Garrett arrives at Finlandia Hall for a performance on Friday 18 November.


Posted by:Webmaster
Posting date:09.12.2011 - 08:56:09
Submitted by:Maya
Article date:01.11.2011
Source:click here
Subject:Violin maestro David Garrett: Im not a phenomenon
Content:

The hall Royal Grand Theatre in Siam Paragon fills up gradually; everyone is here to watch 31-year-old German-American violinist David Garrett perform his rock symphonies. The audience rise to their feet at the sound of the Thai National Anthem, "Phleng Chat," and the crowd goes crazy when the over 6-feet violinist appears on stage shortly after.

David Garrett graduated from Julliard School in New York City and has been playing the violin since the tender age of four. His "Rock Symphonies" album features tracks like "Smells like Teen Spirit," "Vivaldi vs. Vertigo" (Antonio Vivaldi's "Winter" Concerto for Violin and Orchestra from The Four Seasons and U2's "Vertigo") and "November Rain" amongst others.

David Garrett performs with guitarist Marcus Wolf on stage and their chemistry is impeccable; both musicians feed off each other's energy and make both string instruments sound like they have complimented each other since centuries ago. David doesn't stop for anything except to pull off the broken hairs off his bow from vigorous bowing; a split second later and his bow is back on the strings of his violin - his fingers and shifting quick.

The crowd calls an encore after David leaves the stage and he comes back on, playing the theme song to "Pirates of the Caribbean" as he walks through the crowd. David is then awarded the Gold Status in Thailand by Universal Music Thailand and this marks the end of the private David Garrett "Rock Symphonies" showcase.

We spoke to David and got to know him and his music a little better. Read on to find out more about this Van Halen loving violinist.

Is this your first time in Bangkok?

"First time yeah, first time in Thailand. Of course I haven't really seen anything yet, but hopefully tonight I'll go sightseeing, walking around."

Tell us about your symphonies. What do you like most about it?

"It's hard to say what I like most about it, because I wouldn't have put it out if I didn't like it. I grew up with classical music and everything I hear in rock is always a little bit influenced by classical music and when it came to putting rock symphonies together, I did what I do best and that's how the record kind of make perfect sense to me because every time I hear something on radio which is classical, I immediately hear it from a different direction."

Do you play any other instruments?

"I play the piano but not often and not in front of other people."

When you sit down at the piano, do you compose and then play it on the violin? Does that cross over for you?

"Most of the stuff happens up here [head] so if I hear something yes I can sit on the piano and figure out the chords or hear something that plays on the violin and see if I still like it. So really, music writing or arranging just really happens more in the brain more than any other."

Could you tell us about your efforts in achieving a Guinness World Record for being the world's fastest violinist?

"It was certainly something spontaneous which happened. I've always played a lot since quite early in my career. Well I always had good technique and then I was asked to play for a children's show. They asked me to showcase possibilities of techniques on the violin and bring it to the kids and we then came up with that idea. We made sure we went through every possible recording of 'Flight of the Bumblebee' to kind of check. I've always played fast pieces so it came very naturally."

Do you practice the violin every day?

"Yeah. It also really depends if I have a full schedule. Normally I need my three hours a day and I do get a little upset towards management if they don't think about that because I would feel like I'm not doing my duty and be a little upset but besides that, normally, two to three hours."

What do you usually practice on?

"I start out with the basic scales and that takes one or two hours, just to warm up properly. Maintenance is very important of course, especially feeling the distances between each shift. I've got to be sure that it comes natural; I also practice the working material, the breathing stuff."

Who is your guitar hero?

"Well, Van Halen. I listen to a lot of '80s rock and '90s rock."

What is your favourite rock band?

"All my favourites are on my album - Aerosmith, Led Zepplin; I missed out on Pink Floyd but certainly Metallica. Pretty much the best of my favourite rock tunes and rock bands are on the record."

Who are your favourite composers?

"From the classical world, I would definitely say Bach; and then comes Mozart, Beethoven and them."

What about the Baroque, Romantic and Contemporary period composers?

"I like, probably, Bach still the most; he's been a big inspiration for everyone. If you look through composers from Beethoven to Brahms, everybody somehow relates to Bach because his music is not Baroque in a sense, the harmony and structure are sometimes more romantic than those of the romantic composers. So to me, Bach really is the founder of all music, classical music direction, and I think looking into history everybody really gets inspiration from Bach."

You picked up the violin at the age of four - you could have dropped the violin to pick the guitar up and be a rockstar at any point along the way. What kept you focus?

"First of all, I certainly did put down the violin quite a lot [laughs]. There are a lot of frustrations sometimes, even physically; it takes a lot of effort and practice. I guess I just felt this was right, and I was good at it. If you're good at something, it keeps you driving and it gets better and better. I never had that feeling with any other instrument."

Which concert of yours did you like the most or thought was your best?

"I'm not really somebody who looks back and says, 'Oh I really played well there, or there.' I don't know. You know there's a saying, 'You're only as good at your last performance.' So in the end, you always have to prepare to be better than what you can get and that's a challenge - to always have that ambition to improve. So I'm not really somebody who relies on the past performance."

You have a lot going on for yourself right now, would you consider yourself a phenomenon?

"No. In the end, we all wake up in situations where it's going so well and emotions make everything very realistic in my life not that I'm more happy or sad. I would say I'm very lucky, that I'm very strongly connected to work. I've worked very hard in my life but I'm also lucky. Before you get lucky, you've got to work. 'Phenomenon' makes it sounds easy that's why I wouldn't use that word because in the end it would give the wrong impression to other

If the girl of your dreams is standing right in front of you, which song would you play for her?

"F**k the music man; I would save my time and say, 'let's do this.'" [laughs]


Posted by:Webmaster
Posting date:02.11.2011 - 07:30:34
Submitted by:Marydav
Article date:29.10.2011
Source:click here
Subject:Blandar Mozart og Michael Jackson
Content:

Fiolinisten David Garrett blandar nye og gamle klassikarar på konsertane sine – av Run-D.M.C., Michael Jackson, Mozart og Vivaldi. – Ole Bull og dei andre store virtuosane på 1800-talet gjorde akkurat det same, seier han.

21. november held David Garrett crossover-konsert i Folketeateret i Oslo, to og eit halvt år etter at han spelte Max Bruch sin første fiolinkonsert i Grieghallen saman med Bergen Filharmoniske Orkester.

– Eg elskar å omarbeide til fiolinen musikk som eg likar å lytte til, seier Garrett til NRK.no, som møter han i ein dunkelt belyst salong i Grand Hotel i Oslo.

- Ser på meg sjølv som tradisjonell Mellom artistane Garrett likar å lytte til, er AC/DC, Led Zeppelin og Nirvana. Han lagar også eigne arrangement av eldre klassikarar – eller blandar gammalt og nytt. Men han smiler lurt når han blir spurt om kvifor han valde så utradisjonelt:

– Det morosame er at eg ser på meg sjølv som ein veldig tradisjonell fiolinist, særleg samanlikna med dei store virtuosane på 1800-talet som Ole Bull, Sarasate, Paganini og Wieniawski, seier Garrett.

– Alle desse gjorde akkurat det same som eg gjer no: Dei tok popmusikken i samtida og omarbeidde den til sitt eige instrument. På denne måten nådde dei fram til eit publikum som kanskje normalt ikkje ville høyrt på stykke for klassisk fiolin.

Les: Norsk-britisk fiolinkomet i Vogue

Garrett synest det er trist at det har gått av moten å spele musikk som ligg utanfor det klassiske repertoaret:

– Popmusikken i vår tid er kanskje meir mangfaldig, men det betyr ikkje at den ikkje er god, eller at ein ikkje kan spele den på fiolin. Det er ei utfordring, men eg elskar utfordringar!

Sjå David Garrett sin flash mob med «Smooth Criminal» av Michael Jackson med innslag frå Mozart sin «tyrkiske» fiolinkonsert nr. 5: [video in the link]

Blandar Mozart og Michael Jackson

David Garrett held konsert i lag med bandet sitt i Folketeateret i Oslo 21. november.

Fiolinisten David Garrett blandar nye og gamle klassikarar på konsertane sine – av Run-D.M.C., Michael Jackson, Mozart og Vivaldi. – Ole Bull og dei andre store virtuosane på 1800-talet gjorde akkurat det same, seier han.

* Fødd i Aachen, Tyskland i 1980, faren er tysk og mora amerikansk. * Byrja å spele fiolin som fireåring. * Fekk solistkontrakt med det prestisjetunge platemerket Deutsche Grammophon som 14-åring. * Studerte ved Juilliard School i New York med Itzhak Perlman som fiolinlærar. * Ga ut det første crossover-albumet sitt, «Free», i 2007 og «Rock Symphonies» i 2010.

21. november held David Garrett crossover-konsert i Folketeateret i Oslo, to og eit halvt år etter at han spelte Max Bruch sin første fiolinkonsert i Grieghallen saman med Bergen Filharmoniske Orkester.

– Eg elskar å omarbeide til fiolinen musikk som eg likar å lytte til, seier Garrett til NRK.no, som møter han i ein dunkelt belyst salong i Grand Hotel i Oslo.

Mellom artistane Garrett likar å lytte til, er AC/DC, Led Zeppelin og Nirvana. Han lagar også eigne arrangement av eldre klassikarar – eller blandar gammalt og nytt. Men han smiler lurt når han blir spurt om kvifor han valde så utradisjonelt:

– Det morosame er at eg ser på meg sjølv som ein veldig tradisjonell fiolinist, særleg samanlikna med dei store virtuosane på 1800-talet som Ole Bull, Sarasate, Paganini og Wieniawski, seier Garrett.

– Alle desse gjorde akkurat det same som eg gjer no: Dei tok popmusikken i samtida og omarbeidde den til sitt eige instrument. På denne måten nådde dei fram til eit publikum som kanskje normalt ikkje ville høyrt på stykke for klassisk fiolin.

Les: Norsk-britisk fiolinkomet i Vogue

Garrett synest det er trist at det har gått av moten å spele musikk som ligg utanfor det klassiske repertoaret:

– Popmusikken i vår tid er kanskje meir mangfaldig, men det betyr ikkje at den ikkje er god, eller at ein ikkje kan spele den på fiolin. Det er ei utfordring, men eg elskar utfordringar!

Sjå David Garrett sin flash mob med «Smooth Criminal» av Michael Jackson med innslag frå Mozart sin «tyrkiske» fiolinkonsert nr. 5:

– Vil nå min eigen generasjon

David Garrett har så langt selt om lag ein million album på verdsbasis. 31-åringen har eit klart uttalt mål om å nå unge menneske med klassisk musikk:

– Det er viktig for alle musikarar å introdusere musikken ein elskar til sin eigen generasjon, enten ein driv med klassisk, rock eller R&B. Eg ser på det som eit ansvar eg er nøydd til å ta. Det finst fantastisk, klassisk musikk som burde bli høyrt, og eg kjenner meg som ein ambassadør for sjangeren.

Les: Slik gjer svenskane millionbutikk på klassisk musikk

Sjølv forelska Garrett seg i klassisk musikk allereie i treårsalderen, året før han byrja å spele fiolin.

– Eg høyrde på mange av mamma sine LP-ar, særleg dei med musikk av russiske komponistar som Tsjajkovskij, Prokofjev og Stravinskij. Eg huskar særskilt godt Vårofferet av Stravinskij, det berre elska eg å lytte til.

Kreisler den største fiolinhelten

På den neste cd-en Legacy, som blir lansert internasjonalt i byrjinga av november (norsk utgjevingsdato er ikkje fastsett), speler han Ludvig van Beethoven sin fiolinkonsert og musikk av den austerrikske fiolinisten og komponisten Fritz Kreisler (1875-1962). Kreisler er den unge tysk-amerikanaren sin aller største fiolinhelt:

– Kreisler var ein fantastisk fiolinist og ein svært talentfull komponist, samstundes som han arrangerte tidas populærmusikk for fiolinen. Eg ser verkeleg opp til han. Dette er eit fint høve til å introdusere han for eit nytt publikum.

Då David Garrett spelte inn fiolinkonsertar av Mozart som 14-åring, var han den yngste nokon gong som hadde fått solistkontrakt med det leiande klassisk-selskapet Deutsche Grammophon.

– Det var ei vanskeleg tid, for i så ung alder har ein ikkje klart for seg kva ein vil gjere med musikken eller med livet sitt. Eg visste at eg likte det eg gjorde, men eg var ikkje klar for å binde meg til ein karriere som musikar. Eg trur ikkje nokon 13-14-åringar er klar for det.

Det var først som student ved Juilliard School i New York, han fann ut korleis han ville bruke talentet sitt. Han fekk god hjelp av fiolinlæraren sin, den verdsberømte fiolinisten Itzhak Perlman:

– Han sa aldri «spel det slik», han sa i staden «ikkje lytt til andre, finn din eigen versjon og forklar den for deg sjølv. Ikkje bli for påverka av andre – ikkje eingong av meg.»


Posted by:Webmaster
Posting date:25.10.2011 - 17:03:20
Submitted by:Maya
Article date:20.10.2011
Source:click here
Subject:A Moment with... Violin Virtuoso David Garrett
Content:

The violin prodigy rocks out equally on Beethoven and Led Zeppelin

You'd be forgiven for mistaking David Garrett for a rock star. The long blond locks, the stubble and -- as he strides out of interview room and past us for a break, a tall imposing figure at almost 6 feet -- the ubiquitous rock star attire of leather boots and chunky sliver rings all scream the affirmative. That is, until he picks up the violin.

Even from outside the interview room where he performs a snippet for other interviewers, strains of Aerosmith's "Walk this Way" ring out clear and so-very-pure, the notes flying over complicated chords and running apperggios.

No, David Garrett most certainly isn't the long-lost cousin of Kurt Cobain or the lead singer of a hard rock/metal band -- he is a cross between violin prodigy and metal head who rearranges rock classics like Led Zeppelin's "Kashimir" and Nirvana's "Smells Like Teen Spirit" with startling technical ability complete with a devil-may-care attitude. Calling him a rock star may not be that far off the mark. After all, this is the guy who has defiantly brought the clashing worlds of rock and classical music together, a combination that would have notoriously protective rock fans and the oft-snobbish classical music purists screaming in outrage.

And he doesn't care. "I'm not somebody who pays attention to what's happening around me," he says in his trademark husky voice, an American accent tinged with a German lilt. "If you do something different, you have to maintain good taste, but in the end I have to be happy and satisfied with what I do, and that's my main concern. I'm definitely a perfectionist!"

And even classical music purists have to begrudge Garrett's talent and pedigree musical background. Picking up the violin at the age of four, Garrett made his very first appearance as a soloist at ten before running away to the highly prestigious Julliard School in U.S to study. He also holds the Guinness World Record for Fastest Violin Player.

Not that they have anything to worry about. Classical music is Garrett's first love, and the reason why he does crossovers. "Crossover really started off a lot of the motivation to get new audiences for classical music, so that's why I'm even more ambitious with the classical projects," he enthuses.

"Classical music is the reason why I do crossovers, not the other way around. And I'm always happy to have the opportunity to show people that I'm not a gimmick, that I'm somebody who takes this seriously."

So while Garrett may not be a rock star in the truest sense of the words, he certainly understands, and embodies the tenacity, hard work and passion that goes into being one. More importantly, he definitely doesn't care about being a rock star, and that in itself, is the mark of a true rock star.

LifestyleAsia: You're here to promote your latest album Rock Symphonies. If you could only use one word to describe the album, what would it be?

David Garrett (DG): Rockin'!

LSA: Fitting. The album is essentially an homage to all your heroes in the rock and classical world. How do you choose which songs to go onto the album?

DG: It's really a 50-50 mix between, first of all, stuff I love, and stuff I listen to, and then figuring it out if I can put my own spin on it, and if it's worth recording. Because a lot of the pieces are already are so iconic, if you don't have a very strong idea of what to do with it, I wouldn't even bother. So it's really about having a good idea on how to change the piece without losing its foundation and to add something to the piece to make it different and interesting.

LSA: You must have performed at thousands of venues. What would you say is the most memorable one so far?

DG: It's not that I don't want to remember, but once a show ends, I move on. I reflect very quickly what went wrong or right, but that's it. I don't look back and think 'oh I had such a great time'. I don't live in the past. I just focus on doing it better next time.

LSA: Traveling on the road so often must be really tiring. What do you do to unwind and relax?

DG: I'm not really good at unwinding and relaxing -- I get bored after twenty minutes of relaxing! I really don't have many hobbies these days [besides practicising]. It's not just about music for me -- I think about the staging, the business aspects, and making sure my management always pays me right... my management will tell you that I'm very adamant about being aware of every little detail. I can be quite a workaholic, and rightfully because if I just let things be, I always have a feeling that they're not as good as they could be.

LSA: Music and fashion often go hand-in-hand, and you have modeled yourself. What would you say is your style on and off-stage?

DG: Comfortable. I can never wear or buy something that I know is going to be uncomfortable. Even on stage, I believe the more you feel relaxed, the better the performance. Visually, I go for the things I like, but it's just a stage persona. Take Lady Gaga for instance, she has a concept there. I don't worry about these kind of things -- I find it great, but for me I just focus more on the music.

LSA: So you have long hair because it's comfortable too?

DG: Yes! It's very low-maintenance. You wash it and you tie it together, that's it. I go to the hairdresser once every six months and if I had short hair I'd probably be going once every two weeks!

LSA: If there's one person, dead or alive, you'd want to work with or meet, who would it be?

DG: I like people who f**ked things up. I would like to meet somebody who really kind of took the wrong turns like Kurt Cobain and Michael Jackson because I think you learn more from people who really didn't know what to do then.


Posted by:Webmaster
Posting date:25.10.2011 - 17:11:07
Submitted by:Maya
Article date:12.10.2011
Source:click here
Subject:Classic rock fuels desire to be different
Content:

A classical virtuoso in rock star's clothing? What will the purists think?

And we're not just talking about classical purists. The symphony-meets-classic-rock ''crossover'' music that the violinist David Garrett has parlayed into platinum record sales brings howls of disdain from rock fans, too. They think he can be overblown and hammy.

Not that anyone can question the German-born musician's credentials or blistering proficiency. He picked up the violin at four, was soloing with the London Philharmonic at eight, signed to a classical label at 13, was a pupil at New York's eminent Juilliard School of music (working as a model to help pay his way) and went on to take the Guinness record as the world's fastest violinist.

He also idolised rocks stars.

Garrett, 31, started sprinkling rock and pop into his classical recordings about five years ago and has gone the whole hog on his latest album, Rock Symphonies, covering classics from Nirvana's Smells Like Teen Spirit and Metallica's Master of Puppets to Led Zeppelin's Kashmir.

He has been dubbed the ''David Beckham of classical music'' - a tag he doesn't mind. Oprah Winfrey calls him ''fantastic''. He has sold more than 2 million albums.

Taste and credibility are, of course, another story. The classical crowd is particularly sniffy about crossover applications - not to mention men with skull jewellery and eyeliner. But Garrett - who hopes to perform in Australia early next year - brushes aside the naysayers.

''I always thought that being a classical violinist … it is almost part of the tradition to incorporate modern elements into your repertoire,'' he says. ''If you look at the history of violinists … they all actually ended up doing arrangements of contemporary popular pieces.

''In the last 50, 60 years, it's kind of like - I don't know why - it stopped, and I feel it's part of your responsibility as a classical musician to get the attention of an audience. And that helps a lot.''

His kind of crossover sound sells because ''there's an appetite for good music'', he says. ''There's so much music which is being manufactured these days. I think people do realise something has quality and really comes out of a reason.''

He sees himself as a trailblazer. ''The easy way … is to just go along playing classical music and not have anybody complain about it. But for me it was important to make a difference. I think that is something which takes maybe a lot of courage at some point.''

As for image, Garrett takes smouldering to new heights. The photographs on Rock Symphonies show a heavily accessorised, uber-cool bad boy striking poses in some airbrushed amalgam of Kid Rock, Kurt Cobain and generic rocker. Did he have trouble keeping a straight face during the shoot?

''No - actually I'm pretty good at these things,'' he says brightly. ''I like taking a good picture, it's fun … Actually, to be quite honest, I'm always the one who is pushing to do something more crazy.''

Contrivance isn't for him. ''That's the way I am - that's the way I perform classical music … I just see myself as authentic as possible. When I started this project, I never thought of it in a commercial sense. For me it was always important to reach a certain younger audience.''


Posted by:Webmaster
Posting date:10.10.2011 - 17:54:42
Submitted by:Mareen
Article date:10.10.2011
Source:click here
Subject:David Garrett Rock Symphonies Autograph Session
Content:

Fans of David Garrett here in Singapore were in for a real treat as they not only got to attend a special exclusive showcase by the man himself at Avalon, Marina Bay Sands but also had a chance to attend his autograph session the day after.

As early as 6pm, 2 hours before the autograph session started, you could see fans in the designated queue area hoping to the first few to get a chance to meet their idol and get his autograph. And by 7.15pm, the whole atrium area at Paragon was filling up fast with a queue longer than what the designated queue area could hold.

Looking as stylish as ever, David Garrett and his guitarist Marcus Wolf gave a short performance on stage to the delight of everyone present. Cheers and claps were all around as David started off with Michael Jackson’s Smooth Criminal and immediately the whole atrium was alive with the sound of his violin and Marcus’ guitar.

While the performance was not as long as the exclusive showcased, it was enough to attract everyone who heard the music to the atrium and soon the place was crowded with fans and onlookers alike. David went on to play a few more songs including Aerosmith’s Walk This Way and the iconic He’s A Pirate from the Pirates of the Caribbean movie series.

Shortly after, the table was brought onto the stage and the fans went up to meet David and get his autograph. It was interesting to see both the young and old queuing up to get David’s autograph. Not only were David Garrett’s latest Rock Symphonies CDs being autographed, fans even brought along their music score books, instrument cases, posters and even their violins as well. One fan was even spotted asking David to sign her bag.

Even though the queue looked never ending, David was all smiles as he interacted with each one of his fans. Add that with his charming good looks and it is no surprise to see happy smiling fans after the session was over.

Morw phots below at this link


Posted by:Webmaster
Posting date:10.10.2011 - 18:05:24
Article date:10.10.2011
Source:click here
Subject:David Garrett – The Rise of Classical Rock
Content:

When David Garrett was four years old, his father bought a violin for his older brother. The young Garrett took an interest and soon learned to play. A year later, he took part in a competition and won first prize. By the age of seven, he was playing once a week in public. He studied violin at the Lübeck Conservatoire. At the age of 12, Garrett began working with the distinguished Polish violinist Ida Haendel, often traveling to London and other European cities to meet her.

He continued his studies at the Royal College of Music in London. In 2004, he graduated from the Juilliard School in New York City and was one of the first students to study there with Itzhak Perlman.

At the age of 13, Garrett recorded two CDs, appeared on German and Dutch television, and gave a concert in the residence of the Federal Republic of Germany President, the Villa Hammerschmidt, at Dr. von Weizsäcker’s personal invitation. The rest as they say is history. But what is David Garrett like off stage? Elliott Danker chats with this talented violinist and finds out more about his personal style and what he misses the most in life.

POPCulture Online: What is the hardest part about being a musician in today’s environment?

David Garrett: I would say it’s to find a good balance between preparation and promoting. I think it’s very difficult to also have the energy to prepare and to also work on new stuff while you’re on tour. It’s very easy to just you know let things slide and just do your concerts and not think about the future but I’m always someone who tries to (even on promotion or on tour) work because time passes by so quickly and suddenly you have to do a recording and you didn’t prepare and though it’s of course easier to prepare if you don’t have to work but it’s part of your job as a musician to always prepare even on tour.

POPCulture Online: What made you decide to incorporate the element of rock into traditional violin symphonies?

David Garrett: Well I found it very interesting because every time I hear rock music, being a classical musician I hear it differently. Some how in my mind there’s always an orchestra running so for me it was something very natural and it came quite easy with the arrangements although there were definitely challenges but it was really something I had in my mind for a long time so it really turned out to be something which kind of felt natural.

POPCulture Online: While you were studying you did modeling to get some income. Do you still model in your free time?

David Garrett: Hahaha no man I have no free time!

POPCulture Online: Do you miss it?

David Garrett: No I don’t….wait maybe I do….wait I have to think about it… Ermmm I miss the fact that there are certain jobs where you don’t have to be responsible and I’m in the position where I have to be responsible for many many people right now and sometimes that can be tough. And I miss how I was only responsible for myself and I was not responsible at all. I miss those days because if I screw up these days, a lot of people are disappointed because they are all connected to me. So I don’t have the liberty to do it. If i do it then everybody keeps bashing away at me saying I’m not allowed to do that. So I miss the days where everybody didn’t care….you know I didn’t even care. That is a very big luxury which I’m still trying to get back. Haha!

POPCulture Online: Tell us about some of the feedback you’ve received?

David Garrett: First of all every piece that I do which is not mine I do have to go through the process of presenting it to the composers. I got once a nice letter from Metalica who really liked the arrangement for “Nothing Else Matters” so I liked that.

POPCulture Online: Having started as a child performer was there ever a time that you wanted to stop playing the violin?

David Garrett: Ohhh everyday…..there are still times I want to stop. You know there’s this a little voice on my shoulder which says “Stop it, it’s just a waste of time”and the other one says “Hey that’s the thing you love doing so don’t quit.” You know it’s not easy, just because you love something, doesn’t mean it’s easy. On the contrary if you love something, it makes it harder.

POPCulture Online: Most people would picture a professional violinist dressed in a tuxedo or a suit as part of an orchestra but you have your own unique style. Tell us a bit about your style and does it have anything to do with your modeling days?

David Garrett: It probably does because I some how did wear a lot of different styles of clothes at some point. But then on the other hand I did also have a lot of friends in New York who wanted to go shopping with me all the time. There’s definitely influences from both directions but you gotta find your comfort zone. I like to wear a suit or a tux once in a while if it’s the right occasion but I think if you are on stage you really have to find your comfort zone and I don’t think it’s me (wearing a suit or tux) and I don’t like to pretend and I don’t like to pretend on stage even more. So I want to feel at home and at ease on stage and I feel relaxed and perform better!


Posted by:Webmaster
Posting date:10.10.2011 - 18:13:28
Submitted by:Mareen
Article date:10.10.2011
Source:click here
Subject:David Garrett Rock Symphonies Exclusive Showcase
Content:

International superstar violinist David Garrett held his exclusive showcase on a cool Thursday night at Avalon, Marina Bay Sands. POPCulture Online was there to check it out and experience first hand what a violin can do in the hands of a master.

Together with his guitarist Marcus Wolf, David showed his classical side with beautiful renditions of Air (Johann Sebastian Bach, Suite No. 3) and also Summer ( Vivaldi, The Four Seasons).

But of course, David is not only well known with his renditions of classical songs but also his own style of using a classical instrument to play modern songs. And that has captured the hearts of many more fans including POPCulture Online’s main photographer, whose interest in David’s music was intrigued by his unique blend of Classical meets Modern.

From Michael Jackson’s Smooth Criminal to Aerosmith’s Walk This Way and not forgetting Live and Let Die by Guns N’ Roses to even Led Zeppelin’s Kashmir, the world of Rock, Pop and Classical music collided in a rather spectacular fashion as David trilled everyone present at the Avalon.

And not forgetting also the iconic tune which every pirate movie lover can identify and associate, He’s a Pirate was just in the most literal sense, music to one’s ears.

Fans of David Garrett definitely enjoyed themselves that night judging by the cheers and applause after each song. And as an icing on the cake for fans, David himself announced that he will be back next February, for what looks to be a full performance.

Do also check out our photo gallery that we have put together from the Showcase at the source.


Posted by:Webmaster
Posting date:25.10.2011 - 12:37:51
Submitted by:Maya
Article date:05.10.2011
Source:click here
Subject:Violin virtuoso David Garretts secret to success - the P word
Content:

SINGAPORE: How do you become one of the fastest violinists in the world?

"Practice," said German virtuoso violinist David Garrett, who once held the Guinness World Record for Fastest Violin Player and has made fusing hit rock songs with classical music his calling card in the music industry.

Garrett picked up the violin at the tender age of four, became a soloist at eight before running away from home to study music at the prestigious Juilliard School in America when he was just a teenager, even doing a spot of modelling to pay his fees.

He went on to carve a name for himself as a crossover musician, playing hard rock songs such as Nirvana's "Smells Like Teen Spirit" and Metallica's "Master of Puppets" on the violin.

"I think it is a good way to introduce young people to classical music. And it works.

"I see a lot of young people at my classical concerts nowadays," said Garrett of his crossover music.

The talented musician makes it all look easy but Garrett believes that constant practice is the key to his success and had made him the musician he is today.

"I practise about three hours a day now but when I was younger, I practised at least six hours a day," said Garrett in a warm husky voice, during a phone interview with channelnewsasia.com.

"I can't complain. It's (playing the violin) something I love. Some people spend eight hours working in the office."

The 31-year-old will be performing at a private showcase in Singapore at Avalon on Thursday, to promote his album "Rock Symphonies", before attending an album signing event at the Paragon Shopping Centre the next day.

Garrett expressed that he is excited to meet his Singapore fans again – he visited Singapore once before in 2007 - and promised to put his best foot forward at his showcase.

"It is going to be very fun! We'll have a good time. There will be something special!" he enthused.

Vagrant virtuoso

Garrett's Singapore stopover is but one of many, many stops on his touring schedule, which sees him performing at venues across Europe and the US with nary a break.

The gruelling tour schedule has made him a bit of a 'vagrant virtuoso'.

"I do have a home in New York, but I only stay in it for about two weeks a year," said Garrett with a sigh.

"It is strange, the hotels I stay at are more like home than my own apartment.

"Because I stay at hotels all the time, the people at the hotels become like family. I have some favourite hotels that I go to all the time," he added with a chuckle.

But wherever he may go, his violin is his constant companion.

The musician revealed that he actually owns four violins but uses his US$5 million (S$6.5 million) Stradivarius violin for most of his performances.

"I am willing to pay for it because it produces the best sound.

"It doesn't sound very different from the cheapest violin I own outside but in a concert hall, with no amplification, you can hear the difference," said Garrett, before unveiling his next great project - to dream up a way to cross rap with classical music.

Just how will he do it? Even he doesn't know.

But that isn't going to stop him from trying.

"I like to challenge myself all the time! You don't know it can't be done until you try it," said Garrett with a laugh.


Posted by:Webmaster
Posting date:01.10.2011 - 10:21:19
Submitted by:Maya
Article date:26.09.2011
Source:click here
Subject:David Garrett s-a plimbat cu un milion de euro la spinare prin Bucuresti
Content:

Invitat sa cante la Festivalul Enescu, violonistul David Garrett a strabatut distanta de la hotel la Sala Palatului, pe jos, fara garzi de corp, desi avea asupra lui un instrument muzical de valoare.

Pentru ultima saptamana a Festivalului George Enescu, organizatorii au mizat pe un recital de exceptie, sustinut de cel mai rapid violonist din lume. Germano-americanul David Garrett a sosit la Bucuresti discret si fara fite. S-a comportat natural si n-a cerut sa fie pazit de cohorte de bodyguarzi. A strabatut pe jos distanta de la hotel la Sala Palatului, insotit doar de managerul sau si o reprezentanta a gazdelor, purtand lejer in spate cea mai de pret comoara a sa, o vioara Guadagnini, fabricata in 1772 de un elev al lui Stradivarius, si pe care a achizitionat-o in 2003 pentru un milion de dolari.

Imbracat in blugi din care se revarsau cascade de lantisoare argintii, cu bocanci pana aproape de genunchi si pletele blonde stranse intr-o combinatie de coc si coada, David a traversat Calea Victoriei, butonand la mobil si orientandu-se in spatiu mai mult dupa vocile unicilor sai „gardieni”. A patruns in Sala Palatului insotit de racnetele unui agent de paza, disperat ca nu poate convinge o soferita melomana sa isi coboare jeepul de pe trotuar. Cu o precizie germana, concertul a inceput la ora stabilita,19.30, iar Orchestra Romana de Tineret, dirijata de Cristian Mandeal, a incalzit atmosfera cu Rapsodia numarul 1 a lui Enescu. Ropote de aplauze, urale, blitzuri declansate pe furis. Asteptare. Freamat. Explozie de bucurie cand Garrett a patruns pe scena. Tot in blugi, tot cu bocanci si la fel „coafat”. Si-a masurat din ochii publicul si a inceput sa cante. Beethoven, natural si cu emotie. Si-a sters picaturile de transpiratie pe tricou, a primit si daruit flori, a zambit seducator ca doar a lucrat ca model pentru Armani si nu s-a zgarcit la bisuri. Printre ele si un pic de Michael Jackson, cat sa isi ridice spectatorii in picioare.

In pauza spectacolului, tot cu vioara agatata de umar, a acordat autografe sutelor de fani si mai ales fane, care ii intindeau CD-uri, DVD-uri ori bilete pentru a le semna. Tot natural. Tot fara fite.


Posted by:Webmaster
Posting date:01.10.2011 - 10:01:30
Submitted by:Maya
Article date:13.09.2011
Source:click here
Subject:Classic rock fuels the fingers of fury
Content:

Don’t be fooled by his cool demeanour. His new album may have a rockin’ beat but violinist David Garrett, 31, has a soft spot for classical music.

Sally Lee spoke to him in Sydney last week.

THERE’S something noteworthy about David Garrett.

From leaving home at 17 and being expelled from the Royal College of Music in London, to walking the fashion runway as a model to pay for college, the American-German classical violinist has come a longway.

The Julliard graduate now holds the world record title for his speedy performance of Flight of the Bumblebee and, for him, nothing beats the classics.

‘‘I prefer the sound of a good classical violin,’’ he said.

‘‘It’s like the voice and I feel the violin has a close relationship with the colours of the human voice.

‘‘So for me, playing an electric violin is like playing a violin with no soul.’’

His latest album, Rock Symphonies, combines the worlds of classical and rock genres by intertwining singles by rock bands U2, Nirvana, AC/DC with classical pieces by Beethoven and Vivaldi.

But crossing over the two genres is only a ‘‘side project’’ for Garrett.

‘‘For me classic rock was kind of like my second guilty pleasure and I consider myself a core classical musician,’’ he said.

‘‘But I’m not trying to be a missionary and get people to fall in love with classical music.

‘‘I’m just trying to put it on the map because people have prejudices against it because they don’t know it.’’

Since picking up the violin aged four Garrett has been able to maintain his dedication and passion for classical music as he knew which road hewanted to take as a musician.

But before he left for the Julliard School in New York, Garrett’s parents sent him to London to pursue his studies as a musician.

‘‘I hated London. I didn’t go to classes and I found them boring because my heartwas set on New York and that’s where Iwanted to go,’’ he said.

‘‘I guess Iwas kind of expelled from the college in London because I didn’t go to classes and as a result they didn’t perceive me as a motivated student.

‘‘It’s so funny looking back because there was this desperation when I was at school in New York. I did everything I could to survive which is why I did a bit of modelling to pay for college in New York.

‘‘In the end I believe good music is the key to a good record. So whether it’s classical, rock or jazz you’ve just got to love it and I guess that’s what drives me as an instrumentalist.’’


Posted by:Webmaster
Posting date:01.10.2011 - 09:57:38
Submitted by:Maya
Article date:31.08.2011
Source:click here
Subject:David Garrett - Rock Symphonies (Universal)
Content:

YOU haven’t lived until you’ve heard the iconic Smells Like Teen Spirit riff played on a violin.

German violin supremo David Garrett is like Andre Rieu for Generation X.

On Rock Symphonies, Garrett puts his symphonic stamp on several modern rock classics.

On the aforementioned Nirvana classic, Garrett’s violin doesn’t only provide the signature guitar part — it virtually “sings” the verses.

Metal gods Metallica have already teamed with an orchestra and Garrett’s Master Of Puppets is a CD highlight.

A “mash-up” of Vivaldi and U2’s Vertigo is also quite good and Aerosmith/Run DMC’s Walk This Way is heaps of fun with our own Orianthi providing some ripping axe work.

Unfortunately, Garrett’s November Rain is pretty much elevator music but McCartney’s Live And Let Die (also performed by Guns N’ Roses) is among the standouts.


Posted by:Webmaster
Posting date:13.08.2011 - 10:14:16
Submitted by:Maya
Article date:09.08.2011
Source:click here
Subject:David Garrett: la musica in tv non funziona, ascoltate la radio
Content:

E' stato definito il David Beckham della musica classica, il violinista hot e via di questo passo. David Garrett, da ex modello, è indubbiamente una persona di fascino oltre che di talento. Eppure, lui non sembra scomporsi di fronte a questi apprezzamenti.

Sei la rockstar della musica classica (David la mescola con altri generi, interpretando canzoni anche rock con il suo violino; il suo ultimo cd si intitola Rock Symphonies, nda), il modello con lo Stradivari… «Io non mi sento una rockstar e non mi definisco così. Quando fai il musicista, non devi stare troppo a guardarti a destra e a sinistra, ma concentrarti sul trovare il tuo modo personale di esprimerti, la tua 'voce', e coltivarlo».

La tua 'voce' la arricchisci esercitandoti molto con il violino: hai detto che studiarlo è come fare meditazione. Perchè? «Sono entrambi momenti in cui spegni il cellulare e non sei reperibile per nessuno. Pensi solo a te stesso, a connettere il corpo e i suoi movimenti con la mente. In questo senso parlo di meditazione. Non ho mai fatto yoga, ma chissà, forse in qualche modo studiare il violino si avvicina anche a questa pratica».

Al momento tu ti stai muovendo tra classica e rock: quali sono la composizione e la canzone perfetta di questi due generi musicali? «La perfezione è noiosa e non esiste, anche se ci sono musiche che ci vanno molto vicino. La composizione perfetta annoierebbe, come una bella donna, impeccabile ma poco affascinante. L'imperfezione attrae di più».

E' vero che sei nel cast del film Vivaldi di Patricia Riggen? «Non lo so, bisogna sentire il mio manager. Io so quello che sto facendo adesso; non so neanche quello che dovrò fare fra un quarto d'ora, perciò…».

Ok, allora parliamo di qualcosa che hai già fatto, e cioè suonare in un talent show, Dancing with the stars. La serata è piaciuta molto, credi che un talent basato sulla musica classica potrebbe riscuotere successo? «Non ho mai pensato che la musica funzionasse, in generale, in tv. Parlare di musica in televisione, o proporla per più di cinque minuti, diventa impossibile: la gente la devi intrattenere e i ritmi devono essere alti per forza di cose. Gli spettacoli tv sono fatti di due minuti di questo, due di quello; la musica vive di altro».

Quali sono al momento gli artisti che ti ispirano di più? «Le persone tendono a separare il musicista dalla musica, ma è quest'ultima che conta (certo, devi interpretare bene un brano). La buona musica, classica o meno, è sempre di ispirazione: deve smuoverti qualcosa dentro, deve darti passione».

Ci lasci un consiglio, quindi, su della buona musica da ascoltare? «Oggi abbiamo troppe scelte chiuse nel palmo della mano e a volte questo può limitarci. Visto che nella musica c'è ogni giorno qualcosa di nuovo e bello, vi dico accendete la radio e andate alla scoperta, ascoltate quello che è in onda proprio lì, proprio in quel momento. A me piace molto».


Posted by:Webmaster
Posting date:13.08.2011 - 10:12:41
Submitted by:Maya
Article date:21.07.2011
Source:click here
Subject:Verbier on the rock
Content:

"T u vas voir le beau?" elle clame du bout de la file où elle pétouille dans l'attente d'un hypothétique billet. David Garrett est beau, blond, grand et violoniste. Un grand violoniste, m'a dit une musicienne qui l'a entendu la veille à Verbier. Un phénomène qui joue en jeans, bandana sur le front et grigri pendouillant sur le t-shirt. En Allemagne et aux Etats-Unis, où il vend des millions de disques, il remplit les stades. Il réunit dans une même ferveur, paraît-il, le public du classique et celui du rock. D'ailleurs, il en joue aussi, paraît-il, du rock. Dans l'église où la foule s'est enfin assise, les applaudissements sont frénétiques. Les youyous éclatent quand s'éteint la dernière note d'un Brahms rêveur et passionné. Un éblouissant Kreisler déclenche des hourras. A Mozart, c'est du délire. Pour Beethoven, la salle se lève. L'impression est un peu la même que quand on arrive en retard à une fête et que tout le monde est déjà pompette sauf vous. Mais je dois reconnaître qu'il est beau. Que c'est beau. Que tout cela est très beau. A la sortie, des centaines de fans blondes d'âge variable font la queue pour un autographe. Tout à l'heure, David Garrett rentrera en Allemagne avec son papa, son stradivarius de 1716 et son bandana de rock star.


Posted by:Webmaster
Posting date:13.08.2011 - 10:10:36
Submitted by:Maya
Article date:13.07.2011
Source:click here
Subject:E il violinista sexy Garrett mescola Beethoven con il rock
Content:

Il violinista David Garrett, tedesco, 30 anni, è prepotentemente bravo, bello & sexy, sa stare in palcoscenico a meraviglia, e ancor prima, al mondo. È nato violinista classico, con studi e premi alla Juilliard School, cioè la Harvard della musica. Ha un passato di bimbo prodigio, a 13 anni entrava nella scuderia della Deutsche Grammophon, l’etichetta discografica di Herbert von Karajan. Oggi fa 140 concerti come violinista classico, gli altri ottanta sono negli stadi dove imbraccia lo Stradivari per suonare Beethoven in versione rock o Mozart mixato con Michael Jackson. Ci pensa Garrett in persona a fare i cocktail dai quali ha ricavato un cd Decca, Rock Symphonies è il titolo, sbarcato in Italia dopo il milione di copie vendute in Germania e Austria (qui è già disco platino). Quanto all’Italia, si progettano concerti per il prossimo autunno. Poi chissà. Con questo suo violinismo indiavolato, look da ragazzaccio e fare da showman consumato, pare aver conquistato il direttore artistico del festival di San Remo, Gianmarco Mazzi. Del resto, Mazzi ha provato sul campo il prode David, inserendolo nella serata condotta dalla Clerici all’Arena di Verona, in giugno, in apertura del festival lirico. E Garrett è riuscito a mettere in ombra pure una gloria come Zucchero. Lo ha fatto proponendo - tra l’altro - la Quinta Sinfonia di Beethoven, quella del ta-ta-ta-tàa iniziale, in versione rock. Strano artista, Garrett, più pragmatico di un ingegnere Gli chiediamo di riandare alla fanciullezza e alla montagna di ore trascorse a macinare note mentre i coetanei giocavano a football. E ti risponde: «I ricordi non servono, distolgono l’attenzione dal presente». Un presente speso a «dare visibilità alla musica classica che è accessibile proprio come il pop e rock se solo venisse comunicata meglio», spiega animandosi. «Purtroppo troppi credono nell’equazione popolare = commerciale e vorrebbero una musica classica elitaria. Sbagliato. Così come trovo assurdo che nel Duemila ci si presenti in palcoscenico vestiti come un secolo fa. Beethoven mica si vestiva nello stile di Bach. Perché mai il mio Mozart dovrebbe essere sminuito se lo suono indossando jeans stracciati e ciondoli al collo?». Fa l’osservazione a un metro dal suo Stradivari, aggiungendo che di fatto tutti questi suoi pendagli gli complicano la vita agli scanner degli aeroporti. A proposito. Dove vive ora? «Sono un senza tetto. Vivo negli hotel». Garrett ha fuso Mozart con Jackson. Che hanno in comune i due artisti? «I grandi artisti prescindono dai generi. Il caso di Freddie Mercury o Jackson: pensiamo alla sua musica, ai suoi show, nulla era affidato al caso». Non che Garrett difetti quanto a senso dello spettacolo, in realtà. C’è chi gli dà delle dritte? «No. Seguo la musica e mi muovo. Certo, se suono un concerto di Beethoven ho bisogno di una tale concentrazione e posizione impeccabile e dunque sto fermo».


Posted by:Webmaster
Posting date:13.08.2011 - 10:03:35
Submitted by:Maya
Article date:05.07.2011
Source:click here
Subject:David Garrett: Rockheld op viool
Content:

AMSTERDAM - Hij is niet de meest conventionele violist. Sterker nog, David Garrett heeft een opstandig karakter, een rauw rock 'n roll-randje die hij ook in zijn muziek maar al te graag laat horen. Van Metallica, AC/DC en Nirvana naar Beethoven en Bach, een curieuze mashup van Vivaldi met U2 en vervolgens doodserieus weer een stuk van Mahler spelen. ,,Ik ben niet bang om toegankelijk te zijn, in tegenstelling tot veel klassieke componisten”, aldus de wereldster.

Hij staat erbij als een rockheld, afgelopen donderdag in de Amsterdamse Odeon, waar Garrett voor een select publiek zijn nieuwste album Rock Symphonies presenteert. Spijkerbroek en een paar kisten, een doodshoofd-ring en -ketting, een donkere haarband over zijn lange haren. Een ruige versie van Jan Vayne op viool die met een vijfkoppige band Smooth Criminal van Michael Jackson speelt, eigenzinnig inderdaad.

Uitstraling

Zeker als later Beethoven's Vijfde Symfonie, Live And Let Die van Paul McCartney en het Griekse feestnummer Zorba's Dance voorbij komen. Dankzij zijn uitstraling maar ook snelheid en kundigheid op de viool komt Garrett ermee weg. De zaal, gevuld met zowel klassiek-liefhebbers als doorsnee poppubliek, draagt hem op handen. Zoals ook de rest van de wereld de Duits-Amerikaanse muzikant al jaren adoreert, twee miljoen verkochte albums liegen niet.

Veel shows

,,Ik heb een kater”, zegt Garrett eerder die avond. ,,Gisteravond hadden we de laatste show van de Duitse tour, dat moest gevierd worden. Want we hebben daar veel shows gedaan, in totaal hebben we volgens mij voor zo'n 300.000 mensen gespeeld, heel bijzonder.”

Reden voor zijn succes, die brug die hij slaat tussen populaire en klassieke muziek. ,,Eigenlijk is het een traditie uit de 19e eeuw”, zegt Garrett, terwijl hij een zoveelste sigaret opsteekt. ,,Componisten uit die tijd, Piatti of Paganini, gebruikten toen ook moderne deuntjes om een publiek te bereiken. Om bepaalde redenen verdween die methode, die eigenlijk fantastisch is. Als je mensen wilt bereiken moet je toch iets doen waar ze mee bekend zijn.”

Popmuziek

,,Mijn ouders hielden mij altijd weg van popmuziek”, vertelt hij. ,,Ik zat in een cocon gevuld met alleen klassieke muziek, pas rond mijn 16e ontdekte ik moderne muziek. En toen ben ik meteen voor het eerst in mijn leven tegen mijn ouders ingegaan en naar New York vertrokken om daar een muziekopleiding te volgen en voor het eerst het echte leven te ervaren.”

Garrett werd een rebel, ook muzikaal. ,,In New York besefte ik dat Bach, Beethoven en Mozart niet moeilijk zijn om naar te luisteren, maar je hebt iets nodig om een brug naar die componisten te slaan. Veel van mijn vrienden waren geen muzikanten, dus wat ik deed was kleine improvisaties met popsongs die toen op de radio werden gespeeld, ook wat oudere dingen, Pink Floyd, AC/DC, Led Zeppelin, Jimi Hendrix -en via die weg kreeg ik ze aan de Mozart en Beethoven!”

Rocksymfonieën

Sindsdien is hij dat blijven doen, ondertussen ook klassieke stukken spelend. Zo doet hij deze avond rocksymfoniëen, op donderdag 28 juli geeft hij weer een recital met klassiek werk in het Concertgebouw Amsterdam. Twee werelden, Garrett is geloofwaardig in beide, al is daar wel lef voor nodig, zegt hij.

,,Ik weet nog dat ik naar compositielessen ging in NY en de leraren erop aandrongen dat je niets melodieus schreef. Dat is toch te gek?! Absolute nonsens. Dat zette me echt aan het denken, dat er werkelijk een hoop mensen zijn die klassieke muziek in een verkeerde richting duwen. Het is een soort angst om toegankelijk te zijn. Dat zal ik nooit hebben; zolang je kwaliteit levert is mainstream succes geen schande, maar een compliment.”


Posted by:Webmaster
Posting date:13.08.2011 - 10:06:23
Submitted by:Maya
Article date:05.07.2011
Source:click here
Subject:David Garrett - Rock Symphonies
Content:

International superstar violinist David Garrett takes listeners on a ground-breaking musical journey that crosses genres with his new album, Rock Symphonies. Rock Symphonies combines Garrett’s unique background in both the classical and rock genres. Until now Garrett has enjoyed separate, dual careers performing with a rock band and classical orchestra but here, for the first time, he seamlessly morphs the two together.

Mixing new interpretations of his favourite rock anthems by U2, Nirvana, Metallica and Aerosmith with classical favourites by Vivaldi and Beethoven, Garrett’s virtuosic violin playing shines through with precision and power. Backed by his band and The City Of Prague Philharmonic Orchestra this album shows Garrett as a true musical pioneer – reinventing classical music for a new generation. His sell-out stadium gigs are evidence that he’s breaking the classical mould, attracting an audience that resembles a rock concert more than a classical one.

Garrett, who has sold 1 million albums worldwide, is one of the most exciting artists in music at the moment. He has already topped charts from Asia across Europe and in the US with a string of Gold and Platinum albums and was America’s best-selling debut classical artist of 2009.

Garrett’s upwards trajectory looks to be just beginning as his incredible success spreads across the world to become a truly global phenomenon. Garrett will be launching Rock Symphonies across international TV screens this year. In Germany he has taken the slot on the eve of the World Cup Final that has traditionally been the domain of The Three Tenors and in the US he launches Rock Symphonies through Good Morning America.

The evolution of Rock Symphonies was a natural one for the 28-year-old Garrett. Having spent 2009 on tour in all corners of the world, he would find himself performing in clubs to arenas with a live rock band one night, followed by a classical concert hall with full symphony orchestra the next. Having a dual career is a rarity, and doing it successfully even more so. The bold violinist has always been a fan of both the classical and rock worlds he straddles. “I always enjoyed when rock groups integrated orchestra into in their sound, and it elevated the music to another level,” comments Garrett. He continues, “any musician loves having the full sound of an orchestra behind them - it’s an amazing experience.”

Rock Symphonies main recording sessions took place at New York City’s famed Electric Lady Studios, with the orchestra recorded in Prague. Highlights of the album include “Vivaldi Vs. Vertigo,” a mashup of Vivaldi and U2’s Vertigo, Nirvana’s classic “Smells Like Teen Spirit,” Led Zeppelin’s timeless “Kashmir,” and Aerosmith’s “Walk This Way,” featuring a guest performance by Aussie guitar sensation Orianthi (seen in Michael Jackson’s “This Is It”). Orianthi also joined Garrett on stage in Germany recently for his new international television concert special, “Rock Symphonies,” to air across the world.

David Garrett has been winning over audiences since the release of his self-titled debut album in June 2009. His technically jaw-dropping performance of “Flight of the Bumblebee,” was recorded in the 2010 Guinness Book of World Records as the fastest-ever performance of the piece (a blistering 66 seconds), wowing crowds the world over. His CD David Garrett, debuted at #1 on Billboard’s Classical Crossover Chart, and held the #1 position for nine weeks, remaining in the Top 10 for over 40 subsequent weeks .

David Garrett began playing violin at age four, and was signed to the prestigious classical music label Deutsche Grammophon by thirteen. Without telling his parents, he later fled Germany for New York, where he was accepted at the world famous Juilliard music school, studying under the legendary violinist Itzhak Perlman. As a way to pay the bills, he moonlit as a busboy and model, landing him in the pages of Vogue and the Fashion Week catwalks for Armani. He subsequently has gained international stardom and his charisma, passion and dedication to the violin defy categorization.

Rock Symphonies will be launched first in the US on July 20th with international release dates to follow.

DAVID GARRETT / ROCK SYMPHONIES – HIGHLIGHTS

• David Garrett has shipped well over 1 million albums in Germany alone
• Brand new release Rock Symphonies (shipped Gold) went straight in at #1 in Germany – the highest chart to date
• Also achieved highest chart positions to date in Switzerland (#4) and Austria (#4)
• In the UK, the first major Synch has been landed with Cadbury Fingers – an epic 60” commercial set entirely to the track ‘The 5th’ – will be seen by millions
• ‘Rock Symphonies’ released in the US in July ’10 with huge PBS network support (new Live show ‘On A Summer Night’ already broadcast to over 80% of households)
• Week 1 US chart positions were #41 Billboard 200, #16 Digital albums, #2 Crossover classical – and has since placed at #1 Crossover
• US TVs included 2 release week Good Morning America slots and Jimmy Fallon
• As per the Billboard ‘Boxscore’ column, David Garrett has fast become one of the top-grossing Live acts in the world
• Last year, his classical album ‘Classic Romance’ was Top 5 in Germany in Xmas week, between Lady Gaga and The BEP’s!
• He has enjoyed considerable success in SE Asia and has scored Gold albums in both Hong Kong and Singapore with ‘Virtuoso’
• David’s music is bridging the gap between classical and pop music, whilst introducing classical to a younger generation
• The early 2010 arena/stadium tour across Germany and the US has been a sellout success – playing to 170k people
• David’s current fashion / brand partnerships include Banana Republic, Sony Walkman and S. 0liver
• In the US, David was the #1 new Classical Crossover artist of 2009 with the release of hybrid album ‘David Garrett’
• On the Billboard New Artist Chart for 2009, David Garret placed at #6 – across all genres!
• 20% of US sales are digital – proof that David really is reaching that younger audience


Posted by:Webmaster
Posting date:13.08.2011 - 09:59:15
Submitted by:Maya
Article date:02.07.2011
Source:click here
Subject:David Garrett
Content:

How much did your family have an influence on your choice of career?

Well it was my brother who played the violin first, so I guess he had quite a big influence as I wanted to copy him!

Can you tell me one thing about yourself that people might not already know?

I attended the Royal College in Music in London, but left after the first semester. ‘Expelled’ wasn’t the official term, but a mutual agreement was made between me and the Royal College of Music to go our separate ways after I skipped some lessons and may have broken in to do some extra practice.

What would you be doing right now if you hadn’t gone into music?

A stand up comedian

For people reading this that might not know you how would you describe yourself?

 Bit of a workaholic, an extrovert and a perfectionist

Which artists have had the most influence during your career?

Many musicians, as well as composers have influenced me over the years so it’s hard to pinpoint, however music periods that have had a huge impact would be 70s rock and Baroque

Who was the best person you have played alongside and why?

I would say with Mcfly on a TV show we both did together. They are such nice guys and are fantastic musicians. We performed a mash up of Live and Let die with 5 Colours in her hair on Pop star to Opera Star!

How did you get started in the music industry?

I managed to swing a record deal when I was 12 years old with Deutsche Grammophon and I haven’t looked back!

What is your favourite thing to play and why?

I love playing Rock as you can see from my recent album ‘Rock Symphonies’, however I have been raised on core classical music which my technical ability hinges on therefore have a real close connection with it.

What was the highlight of your career so far?

Playing in Hyde Park, London in front of 40 000 people. That was amazing. What have you been up to in your career so far?

It has been an endless cycle of touring, recording and performing with few breaks in-between. When I stay in one place I want to be touring and vice versa!

What was the first record you ever brought?

Swan Lake (my mother bought it for me)

What music are you into at the moment?

When you hear my records, you can tell. I listen to every style of music.

What are the differences for you between performing to a small audience and playing to an arena of people?

There is such a high energy in a larger crowd, but when the crowd is more intimate, the sound quality is higher and it’s a better opportunity to have closer communication with the audience.

What song describes you the best?

Nothing Else Matters by Metallica

What things do you do when you’re away from music?

This doesn’t happen often...

still thinking...

What is your favourite thing about being famous?

Being able to introduce my music to new audiences

Where would you like to be in five years time?

Who Knows!

Whats next for you?

Recording Beethoven Violin concerto at Abbey Road Studios. I’m really looking forward to this as it’s my first time recording there!


Posted by:Webmaster
Posting date:02.07.2011 - 17:06:31
Submitted by:Maya
Article date:28.06.2011
Source:click here
Subject:David Garrett, rocker col violino in mano
Content:

Il violinista tedesco è uscito con il nuovo album Rock Symphonies, in cui reinventa brani storici del rock come November Rain e mette assieme Vivaldi con gli U2. E per il prossimo disco chiamerebbe Slash e Megan Fox. LEGGI L'INTERVISTA

Vi è venuta la brillante idea di far incontrare Vivaldi con gli U2? Troppo tardi, David Garret lo ha già fatto. Nel suo ultimo disco, intitolato Rock Symphonies, il prestante violinista tedesco ha infatti affiancato brani di musica classica come Peer Gynt di Edvard Grieg a pezzi rock come November Rain dei Guns'n'Roses e Kashmir dei Led Zeppelin. Fino a immaginare un match tra il compositore italiano e la band irlandese in Vivaldi vs Vertigo. Ne abbiamo parlato con lui in un'intervista esclusiva.

Che cosa tiene assieme la musica rock e quella classica?
Lo faccio io! Ed è anche molto divertente... Seriamente, condividono lo stesso senso del ritmo e in entrambe è importante che ci sia un dialogo e un bilanciamento tra i diversi strumenti.

E cosa c'è in comune tra Kurt Cobain e Ludwig van Beethoven?
Sono stati due musicisti innovativi e di talento, che hanno creato un percorso unico e personale all'interno della musica.

Vivaldi contro gli U2 e Vertigo: chi vince?
Secondo me è un pareggio! Entrambi hanno forze differenti e messi insieme tirano fuori il meglio dei loro due mondi, la classica e il rock.

Qual è stata la traccia più difficile a cui lavorare, in Rock Symphonies?
Probabilmente November Rain. Sapevo che in qualche modo avrebbe funzionato, ma c'è voluto molto tempo affinché fosse a posto. Penso che abbiamo fatto almeno dodici versioni e poi la tredicesima è stata quella fortunata.

Come affronta i suoi live?
Con molta preparazione. Per il programma, seguo il mio istinto: è importante che ci sia un buon bilanciamento tra i diversi generi musicali e tra i pezzi più uptempo e quelli più lenti.

È possibile diventare una rockstar suonando il violino?
Non credo che faccia differenza quale strumento suoni, quanto piuttosto il modo in cui lo approcci. E qualsiasi strumento tu suoni, ci vuole tanto lavoro!

Una popstar che le piacerebbe avere nel suo prossimo disco?
Direi Slash, perché il suo ultimo disco mi è piaciuto davvero tanto. In più ho sentito dire che Megan Fox ha una grande voce... e se così non fosse, c'è sempre autotune!


Posted by:Webmaster
Posting date:07.05.2011 - 09:31:34
Submitted by:David Garrett France
Article date:06.05.2011
Source:click here
Subject:David Garett : un mélange épatant du violon et du rock
Content:

C'est une sortie musicale qui ne pouvait pas passer inaperçue quand on connait la renommée du jeune prodige violoniste qu'est David Garrett. Il nous est revenu en mars avec son nouvelle album, disponible en France depuis le 28 mars, au titre très évocateur “Rock Symphonies”. Assurément, un disque que tous les admirateurs du virtuose germano-américain, vont se procurer mais pas seulement. En effet, l'album déjà sorti dans le monde entier se classe en tête des hits parades dans plusieurs pays tels que l'Allemagne dont il est originaire, l'Autriche, la Suisse, les Etats-Unis, mais aussi en Asie à Hong-Kong, à Singapour... Un succès confirmé donc puisque l'artiste a également reçu un disque de platine et des disques d'or dans ces précédents pays. Ainsi, après la réussite de ses deux premiers albums, “Virtuoso” sorti en 2007, et “Encore” en 2008, David Garrett s'impose comme l'un des artistes “classiques” et extraverti le plus populaire de sa génération.

En effet, après avoir commencé à jouer du violon dés l''âge de 4 ans, et fréquenté le conservatoire de Berlin, il signe son premier contrat à 14 ans avec Deutsche Grammophon et commence à donner des concerts en solo. Il est notamment reconnu comme un recordman dans sa catégorie étant donné qu'il est le violoniste qui joue le plus rapidement depuis son interprétation du “Vol du Bourdon” exécutée en 66 secondes.

Alors que ces deux premiers opus, bien que teinté de sonorités “rocks” avec des reprises de musiques de film, restent encore proche du classique, “Rock symphonies” est résolument tourné vers un registre plus pop rock voire même hard rock. Parmi les 19 titres, que contient l'album, il n'est pas étonnant de voir des reprises de groupes de rock célèbres comme Metallica, U2, la piste d'ouverture “Smell like teen spirit” de Nirvana... ou celles d'artistes tout aussi connus comme Paul McCartney, ou “Kashmir” de Led Zeppelin. Mais ce qui surprend encore un peu plus dans cet album, ce sont les adaptions plus “rock'n roll” de grands standards classiques de Beethoven (“The 5th”) à Bach, en passant par la réunion saisissante de U2 et de Vivaldi sur les titres de “Vertigo” et “Quatre saisons”. La force de ces interprétations réside principalement dans le jeu fougeux et très soutenu de David Garrett, accompagné du talentueux orchestre philharmonique de Prague qui donne une touche plus profonde à l'ensemble. C'est donc bien une synthèse entre grands classiques du rock que nous avons plaisir à découvrir tout au long de l'album.

Ce mélange judicieux, susceptible de choquer les plus puristes est justifié par l'artiste lui-même qui veut faire de son nouvel album et de cette fusion entre deux registres habituellement opposés “une façon merveilleuse d'atteindre un nouveau public". Ainsi, David Garret, contribue à démocratiser et à rendre plus accessible la musique classique en la confrontant à des registres plus modernes et populaires surtout auprès des jeunes, tels que le rock.

David Garrett est attendu sur scène pour défendre son nouvel album, avec une tournée mondiale qui s'annonce triomphale et qui se joue déjà à guichets fermés. Il était d'ailleurs de passage en France au début du mois d'avril pour un concert unique en son genre.

En bref, un album au surprenant mélange de rock et de musique classique à découvrir sans attendre pour tous les amateurs de ces deux registres ou bien tout simplement pour ceux qui voudraient tenter de nouvelles expériences musicales, et se laisser emporter par ces 19 titres saisissants.


Posted by:Webmaster
Posting date:08.05.2011 - 10:40:08
Submitted by:Petra
Article date:05.05.2011
Source:click here
Subject:Victoria hyllas av världsstjärna
Content:

Kronprinsessan Victoria kommer att hyllas av bland andra världens snabbaste violinist, David Garrett, på Victoriadagen den 14 juli.
Victoria hyllas av världsstjärna
Kronprinsessan Victoria kommer att firas av ingen mindre än världens snabbaste violinist på din födelsedag.
Världsstjärnan David Garrett har nämligen bokats till Victoriadagen den 14 juli. - Det känns jättebra att vi lyckats få honom, säger Kay Wiestål som bokar artisterna till Victoriadagen.

Den 14 juli firas Kronprinsessan Victorias 34-årsdag i vanlig ordning på Öland. En av de de artister som nu är klara för Victoriadagen är den tyskamerikanske superstjärnan David Garrett, som korats till världens snabbaste violinist. - Det känns jättebra att vi lyckats få honom, säger Kay Wiestål.

Tre svenska vinnare

David Garrett började spela fiol som fyraåring och spelade redan som 13-åring in sin första skiva. En annan världsstjärna som kommer att äntra scenen den 14 juli är operasångaren Peter Mattei.
- Sedan har vi tre svenska vinnare. Eric Saade som vann Melodifestivalen, Jessica Andersson som vann ”Let’s Dance” och Andreas Johnson som vann ”Körslaget”. Vi har ett gigantiskt uppbåd i år, säger Kay Wiestål. Hela kungafamiljen har dessutom anmält att de kommer att vara på plats för festligheterna.
- Så det känns riktigt kul, säger Kay Wiestål.
Vad tycker de om utbudet av artister i år?
- Jag träffade kronprinsessan Victoria och prins Daniel i Kalmar för ett tag sedan och jag tror att det tycker att vi skött det bra.
Då är det bara hoppas att solen skiner på Victoriadagen också.
- Vi har aldrig haft annat än bra väder.


Posted by:Webmaster
Posting date:02.06.2011 - 08:46:47
Submitted by:Maya
Article date:16.04.2011
Subject:Experience
Content:

Original Article


Posted by:Webmaster
Posting date:07.05.2011 - 07:55:54
Submitted by:Marydav
Article date:06.04.2011
Source:click here
Subject:La France succombera-t-elle à David Garrett
Content:

Quel est le point commun entre Michael Jackson, J.S. Bach, Aérosmith, Vivaldi, U2, Albinoni, Nirvana et Paul Mc Cartney ? Vous le saurez bientôt avec l’arrivée en France de David Garrett, le violoniste aux 2 millions d’albums vendus en Europe ! La France se rangera-t- elle au rang des fans hystériques entassés à 20000 pour l’entendre et apercevoir son minois de séducteur ? Nous le saurons à partir du 18 avril, jour de sortie de son nouvel album Rock symphonies et au fil de son pèlerinage marketing en France entamé lundi au grand journal de canal +.

Ce même lundi 4 avril, un show case ultra privé est organisé par la maison de disque Universal, à l’Arc. Pascal Nègre directeur de la maison de disque est présent, heureux d’être dans son réduit avec deux ou trois couples très chics entre champagne et petits fours finement servis pour ce petit groupe de VIP parmi les VIP de seconde catégorie qui devront se rendre jusqu’au bar pour une collation luxueuse et gracieuse ! L’industrie du disque est en crise me direz vous…

La salle est pleine, des journalistes, des gens cools et toujours souriants se regardent sans se parler entre talons hauts, semelles rouges et chaussures pointues brillantes pour les hommes gominés des racines jusqu’aux pointes.

Une dizaine de personnes semblent sortir de la vraie vie, elles ont de petits appareils photo, des téléphones prêts à filmer, trépignent d’impatience à l’idée de croiser enfin leur star, leur vedette à violon, le seul qui leur donne le sourire quand elles partent au « turbin », celui qui fait danser leur vie et qui les a par exemple fait venir de Lille pour ce mini concert grâce à un concours. Et oui, David Garrett a déjà des fans en France, des femmes en quasi transe devant ses cheveux blonds d’ange déchu par le rock et ses lèvres sensuelles entourées d’une barbe sauvage taillée dans le mâle, le vrai. David se fait attendre, il est sur Canal plus avec son violon, heureusement l’émission est diffusée sur grand écran afin de ne pas perdre une miette de sa vie en France. Quelques minutes plus tard Annie Lemoine arrive sur scène, pourquoi elle, nous ne le saurons jamais, elle fait très bien son travail d’animatrice, présente le musicien et annonce qu’après le concert elle aura le privilège de l’interviewer pour nous !

La batterie, la basse, la guitare démarrent dans un son saturé pour donner l’idée du rock peut-être, mais au bord de l’insupportable pour nos oreilles dans un si petit espace, loin des stades dont David Garrett à l’habitude.

Smooth criminal résonne, le violon remplace les mots dans un rythme et un phrasé hors temps musical. David Garrett est en fusion avec ses musiciens, il prend plaisir à jouer en alternance des Aerosmith, puis Bach en duo violon guitare. Son instrument est un prolongement de son corps, il le suit depuis l’âge de quatre ans, des heures de travail, de souffrances et de vie loin des autres pour être le petit prodige de ses parents, la bête curieuse allemande. Que penser de sa musique ? Si vous n’avez jamais entendu de musique classique, si ce n’est André Rieu ou Era, si les artistes vous parviennent uniquement via la télévision, le cinéma, la radio et la publicité alors il est possible que la rencontre avec le violon soit déjà mieux qu’un tube de l’été. Dans ce cas il faut remercier David Garrett de vous avoir ouvert les portes des instruments à cordes et de vous permettre de découvrir , David Grimal, Geneviève Strosser, Sonia Wieder -Atherton par exemple, sans oublier les autres instruments, les voix, les orchestres et les opéras ou d’autres Crossovers. Le tout en disque ou en concert pour une belle rencontre avec la musique et les musiciens.

Pour les autres, cette musique d’ambiance ni rock ni classique vous donnera des poussées d’urticaire mais doit être un prétexte à faire découvrir des plus petits chemins à ceux qui dans les grandes voies commerciales tomberont sous le charme de ce violoniste rock, sexy, classique !

Le concert privé s’est terminé sur les applaudissements un peu mous de la foule mais plein d’entrain et de passion des fans en joie.

L’interview d’Annie Lemoine, bien préparée avec une traductrice fière d’édulcorer les mots du violoniste drôle et sans contrainte de langage pour les anglophones. Il est touchant, ose dire qu’il s’est ennuyé ici, qu’il a une belle vie entre voyages et concerts à guichets fermés. Il tente de mettre à mal les polémiques, il se dit musicien, ni classique ni rock, il veut créer son propre style avec son violon. Il se moque gentiment d’Annie Lemoine et de sa traductrice, il ose certaines grossièretés humoristiques non traduites pour ne pas choquer de chastes oreilles ! David Garrett est sympathique, il accepte avec le sourire les multiples photos et dédicaces pour les fans, il est doux et gentil, mais cela ne change hélas rien à sa musique.

David Garrett a trouvé sa voie, luttons pour que la musique garde la sienne et puisse être libre.


Posted by:Webmaster
Posting date:02.06.2011 - 08:41:59
Submitted by:Maya
Article date:03.04.2011
Subject:The fiery fiddler
Content:

Original Article


Posted by:Webmaster
Posting date:02.04.2011 - 12:11:16
Submitted by:Anjasybille
Article date:30.03.2011
Source:click here
Subject:Quando gli archi diventano Pop-Rock
Content:

Dal violinista-Rockstar David Garrett al quartetto Archimia, addio ai classici concerti di musica classica, evitati come la peste dalle nuove generazioni: diamo il benvenuto al Woodstock del violino, della viola e del violoncello.

Antonio Vivaldi e Niccolò Paganini si staranno rivoltando nella tomba, mentre tutti gli appassionati di Rock a cui non sono mai andati giù i violini, le viole e i violoncelli gridano al miracolo: una nuova moda sta prendendo piede nel panorama musicale, ossia quella di utilizzare strumenti classici per fare del sano e vecchio Rock ‘n’ Roll!

L’ultimo della stravagante lista di violinisti-Rockstar è David Garrett, classe 1980 e… classe da vendere!

Biondino super sexy dallo sguardo maledetto, Garrett è uno dei violinisti più amati dalle teenager: poster su cui campeggia il suo visino attaccati alle camerette rosa di mezzo mondo, un fan club degno di Justin Bieber e sold out registrati ad ogni concerto.

Il segreto? Far uscire dal suo Stradivari non musica classica e arie per violino che le nuove generazioni non apprezzano, ma Grunge, Rock e assoli degni di Slash.

O di Angus Young, in questo caso…

E come David Garrett opta sempre per qualche cover degli AC/DC o dei Nirvana da offrire al suo pubblico durante i concerti, sono tanti i professionisti dell’arco che si stanno dando a questa commistione: uno strumento tipico della musica classica per suonare del classico Rock!

Anche l’Italia è schierata in prima linea su questo fronte, con due quartetti d’archi mica male: i primi sono i Bakura, giovanissimi strumentisti che si esibiscono per passione con medley di sigle tv e brani Pop.[...]


Posted by:Webmaster
Posting date:07.05.2011 - 08:01:20
Article date:24.02.2011
Source:click here
Subject:David Garrett clasically rocks Boston
Content:

Led Zeppelin's "Kashmir," Metallica's "Master of Puppets," Nirvana's "Smells Like Teen Spirit," and last but not least, Paul McCartney's "Live and Let Die." All classic rock songs, and while they may have several things in common, there is one that unites them: they all sound great on a violin.

David Garrett is a classically trained violinist from Germany. He started playing at a young age, and was recognized early as a talent. Now 28, Mr. Garrett has released five studio albums, only two of which have been released in the United States to date. Accompanying the release of each of the two albums, one self-titled and the most recent Rock Symphonies has been a tour, with Mr. Garrett and his five-piece rock band travelling around the country to major cities and playing major selections from each album. I have been fortunate enough to see him live both times he has come through Boston.

Mr. Garrett's music is not simply recreating an already great song and inserting a violin. Rather, the songs are "re-orchestrated" a bit, with the end result sounding similar, but definitely different from its original version. But what is perhaps more impressive is the remixing of, say, Beethoven's 5th symphony from Rock Symphonies. While the violin takes front and center with the recognizable melody, it is supported by a five piece band: a drummer, a keyboard player, two guitars, and a bass.

Another track that is a staple at concerts is a contemporary classical piece: "He's a Pirate," by Klaus Badelt, perhaps better known as the Pirates of the Caribbean theme song. This serves as a prime example of Mr. Garrett's many arrangements, taking an already powerful piece and adding an extra bit of punch to it. Similarly, "Vivaldi vs Vertigo" from Rock Symphonies takes classic Vivaldi and mashes it up with U2's "Vertigo," with the violin again taking the place of song's vocals.

During each concert, Mr. Garrett takes the time to introduce each member of his band, and steps off stage to allow them their own moment in the spotlight. At his most recent Boston performance at Symphony Hall, they rocked out an instrumental version of Led Zeppelin's "Rock and Roll." Between each song in a given set, Mr. Garrett usually shares an anecdote of sorts, either how he became interested in the particular piece, to a story from his childhood, to relationship advice (an hour long conversation with one's manager during dinner with your girlfriend will not end well).

What's interesting about the two concerts I've attended is how wide the ages of attendees varies: from children as young as five to teenagers and their parents, to their parent's parents, Mr. Garrett's music appeals to a wide range of listeners. It's hard to imagine that when Symphony Hall was originally built that the designers had rock concerts in mind. But upon listening to this artist, it only seems appropriate: the near perfect cross-over of classical and contemporary musically styles, all wrapped up into a six piece rock band. So next time you're surfing through the iTunes store (or whatever means you acquire your music through) and happen across a song or album by David Garrett, give it a listen. What's the worst that could happen?


Posted by:Webmaster
Posting date:24.02.2011 - 09:36:26
Submitted by:Maya
Article date:23.02.2011
Source:click here
Subject:Garrett to perform rock concert with symphonic twist at IRSC
Content:

David Garrett will perform at 7:30 p.m. Feb. 27 at McAlpin Fine Arts Center at Indian River State College.

World-renowned musician David Garrett looks like a typical rock star.

The 30-year-old arrives at his concerts donning grunge-like attire and chunky jewelry, his long, bleached-blond hair in a messy ponytail.

Then, he picks up his violin and starts playing his style of classical music like the Juilliard-trained violin virtuoso he really is.

Garrett and his band will make the last stop of their U.S. tour at the McAlpin Fine Arts Center in Fort Pierce on Feb. 27.

The performances will include two original compositions and a few classical pieces, but mostly will feature music from his new album, "Rock Symphonies." On the album, Garrett offers violin interpretations of rock anthems such as Nirvana's "Smells Like Teen Spirit" and Aerosmith's "Walk This Way." "I've always had a sweet tooth for '70s and '80s rock," Garrett said. "AC/DC. Nirvana. Those are some of my musical heroes."

His first few albums were mostly classical symphonic, which created an older fan base for the artist. Now that he has gone from Vivaldi to Zeppelin, his fan base is bigger and younger, something that has always been important to Garrett.

"Young people are still developing their taste and have a wonderful curiosity for music." Garrett said. "They don't listen to just one genre anymore. So, it's important that I promote classical music and different cultures to a younger crowd."

Coming from five generations, Garrett's fans are also from countries all over the world.

"It's definitely big news that we've gotten someone of his musical talent to perform in the Treasure Coast," said Laura Kelley, director of Lifelong Learning at Indian River State College. "It's some of the best and most unique music I've ever heard."

During the first few hours of sales for the Fort Pierce concert, tickets to the entire first row were bought by Garrett listeners who will travel from Germany to Florida to catch the live show.

"I have an amazing audience to perform to," Garrett said. "These days music is mixing and matching, and to have fans who appreciate that style, that's just a wonderful thing."


Posted by:Webmaster
Posting date:24.02.2011 - 09:38:59
Submitted by:Solveig
Article date:23.02.2011
Source:click here
Subject:IRSC Lifelong Learning Institute Brings David Garrett to Perform at the McAlpin Fine Arts Center February 27
Content:

The Lifelong Learning Institute at Indian River State College is pleased to announce a show for all ages in a special one-time performance of renowned musician and violin virtuoso David Garrett of Germany in his second U.S. tour “Rock Symphonies” at the McAlpin Fine Arts Center on the IRSC Main Campus at 3209 Virginia Avenue in Fort Pierce. Garrett will be bringing his unique classical approach to contemporary music at 7:30 p.m. on Sunday, February 27, 2011. Those interested in meeting David Garrett will want to attend a special pre-show “Garrett Gala” which includes dinner and a meet and greet with the artist at 6 p.m.

Returning to the United States for a second time and the planned taping of his new PBS special, Garrett has carved out a unique and new artistic path, one than pays as much homage to Metallica as to Mozart. His journey from classical wunderkind to mature and highly adventurous artist resonates with an enormous worldwide audience, as he performs to thousands of fans at sold-out arenas. An appearance on Oprah and a Guiness Book of World Records performance available on You Tube continues to expand his fan base. On the famous Last Night of Proms in the UK, he played to a crowd of 40,000 people and filled Royal Albert Hall in an impressive six concerts in seven days. His UK album release became a Top 20 chart fixture. His first American release in 2009, simply entitled, “David Garrett” included everything from reinterpreted pop covers to the last movement of Vivaldi’s “Summer.” Find him on the web at davidgarrett.com to learn more about his music.

Tickets are on sale now for the show and are $35. Limited tickets for the Gala are $100 and include preferred seating for the performance. The Gala will be hosted in the Wynne Black Box Theatre adjacent to the McAlpin Fine Arts Center at 6:00 p.m. Limited seating for the Gala is still available, so be sure to reserve seats today.

The David Garrett performance of “Rock Symphonies” begins at 7:30 p.m. at the IRSC McAlpin Fine Arts Center. The Garrett Gala pre-show dinner and reception will take place beginning at 6 p.m. prior to the show in the McAlpin Arts Center. Purchase your tickets at the Box Office located in the McAlpin Fine Arts Center lobby, on the IRSC Main Campus at 3209 Virginia Avenue in Fort Pierce, Monday through Friday, 11 a.m. to 3 p.m., or by phone with VISA, MasterCard, Discover or American Express. Call the McAlpin Fine Arts Center Box Office today at 462-4750 or toll-free at 1-800-220-9915.


Posted by:Webmaster
Posting date:24.02.2011 - 09:42:45
Submitted by:Maya
Article date:18.02.2011
Source:click here
Subject:David Garrett @ Best Buy Theater
Content:

Part maverick, part genius, total virtuoso, David Garrett, 25, has been surprising people since before he was four years old. It was then that his father gave him a violin (he was having a tantrum because his older brother had a violin teacher) and, without any lessons, the toddler picked it up and began playing. Fast forward just four years and David was already one of the foremost violinists in the world working with the most celebrated teachers and performing solos with legendary orchestras and conductors.Working with the best teachers available in his native Germany, where his German father was a lawyer, his American mother a professional ballet dancer, David performed in front of an audience for the first time at the age of four. From the age of eight, with a management team already behind him, David was playing solo with leading international orchestras, including the London Philharmonic, the Los Angeles Philharmonic and the Russian National Orchestra and attracting the attention of the world's foremost music teachers and conductors, namely Zubin Mehta, Claudio Abbado and Mikhail Pletnev. He even performed under the direction of the legendary Yehudi Menuhin. "I'm flabbergasted when I listen to recordings of myself at that age," says David, without a hint of vanity. "It is kind of weird to hear someone so young play so well, even if it is me." Mind you, at the time, while his friends were becoming experts at PlayStation, he was putting in seven hours practice a day.With his father, a musician himself, mentoring him and with major tours requiring home tuition, David was rather isolated as a child and, in his own words, something of a "geek". "I'd listened to nothing but classical music until the age of 14," he says. "So when I started going to regular school, and started to be exposed to all this pop and rock, it was a revelation." He was particularly taken with hard rock" about as far away as you can get from the Beethoven and Mozart he was already well known for. "In school I was the odd guy," he says. "But I'm good at adapting. Image and clothes became important and I started downloading Hendrix, Led Zeppelin..." And he still has great respect for the rock heroes, insisting that you have to be in total control of your instrument to be able to pull it off like they do. Well, if anyone should know...He even learnt to play guitar, though he says he never got really good at it (it's all relative), mainly so he could write his own compositions, something which the violin doesn't lend itself to. But despite stepping away from total immersion in classical music, David had not yet learned to rebel. That would come when he secretly set up auditions for himself at what is arguably the world's most famous music school, Juilliard in New York City, in order to study with his hero Itzhak Perlman while using a visit to his older brother who was studying at Harvard as cover. Unsurprisingly, considering he had already made several recordings and toured extensively, he made the grade, even though it wasn't his first taste of music school: he'd actually been expelled from the Royal College of Music in London for general non-attendance and for breaking into the teachers' rooms with a credit card to use their musical facilities!"My parents didn't want me to go to Juilliard," says David, with a laugh, admitting that for most parents it would be a dream come true. "They thought I didn't need it. But I needed to escape their influence. I actually found it musically cleansing. Before Juilliard I'd lived in a shell, spending 24 hours a day with adults. So to meet other musicians my age and to have a break from being treated like this child genius was a relief." He also found that he had injured himself playing so much, wrecking his back and shoulders while recording the 24 Paganini Caprices for Deutsche Grammophon at age 15, meaning that the break from the performance circuit came as a huge bonus.It was while studying at Juilliard that David was spotted by a model scout while out partying. Soon he was supplementing his meagre student income with assignments for magazines like Vogue and labels like Armani, appearing not only in glossy magazines but in runway shows. In fact, his college days and after he left were hugely enjoyable for David, who realised he had been something of a slave to music during his childhood. He discovered nightclubs, parties and good times ("I've definitely not left anything out," he says) and started surfing, "just well enough to impress the ladies."

With a new pad in New York's funky Hell's Kitchen, where West Side Story was set, he found himself in the middle of it all: close to the cultural life of the Lincoln Center but near enough to the club culture of Chelsea and the West Village. It was this new feeling of freedom, coupled with a talent that had been refreshed by his time at Juilliard, that led to what he thinks of as his first album ("Free", Decca), never mind that he has a ridiculously lengthy catalogue for someone his age."This is the first one where I'm in charge," he says. "The producing, the arranging, the composing, it's totally my project. The record company trusted my instincts, gave me the freedom to experiment and I came up with all this stuff."And so the virtuoso maverick arrives. With his natural talent, the input of the finest music teachers in the world and a spirit unusual in the sometimes fusty world of classical music, David has emerged as fully-formed, fully-rounded " not to mention highly attractive - artist. He has already played for Popes and princes and presidents (the German President saw David when he was just 11 and was so impressed he actually set about securing him a priceless 1718 Stradivarius: "I used to leave violins on buses and in hotel rooms when I was younger, but not this one") but a whole new audience awaits.


Posted by:Webmaster
Posting date:14.02.2011 - 11:05:17
Submitted by:Maya
Article date:11.02.2011
Source:click here
Subject:Rock violinist David Garrett is pleasant enough but needs to mix it up
Content:

Before rock guitar gods roamed the earth, there were classical violin gods. When fiery fiddlers like Niccolo Paganini or Pablo de Sarasate were tearing it up in concert, rosin and horsehair flew into the air, women swooned and men screamed. So what would happen if someone tried to bring the violin god ideal back to life by splicing its DNA with that of the rock guitar god? Can classical and "classic rock" merge to create some ideal musical catharsis?

Well, David Garrett is giving it a go. The 29-year-old German violinist was playing concertos with major orchestras in his teen years, but he's been unleashing his inner rocker in recent years, covering popular rock tunes and giving familiar classical fare a bit of rock and roll crunch. And Garrett seems to have filled a niche, judging from album sales that have made him one of the current kings of classical crossover.

On Friday night at Minneapolis' Pantages Theatre, Garrett proved pleasant company, thanks to an amiable personality and looks that used to earn him spots in Armani ads. But only intermittently did an edge emerge in the music he and his five-piece band performed. It was enjoyable enough, but the arrangements lacked imagination and never produced much in the way of thrills.

The central problem is that Garrett takes rockers like Led Zeppelin's "Kashmir" and Aerosmith's "Walk This Way" and basically reiterates their vocal and lead guitar lines on the violin. That can make for some interesting sonic changeups, but many was the time Friday when the song seemed to be screaming out for something surprising. Garrett rarely took advantage of the freedom he's accorded as a soloist, eschewing improvisation and clinging tightly to the original melodies.

Classical musicians are challenged to channel a composer's spirit when performing their works, but there were only a few occasions Friday on which Garrett came close to capturing the tenor of the tunes he was covering. Surprisingly enough, one was Nirvana's "Smells Like Teen Spirit," on which Kurt Cobain's final hoarse shouts came through loud and clear on Garrett's violin. Equally electric was Metallica's "Master of Puppets." Perhaps it says something that two of the angriest pieces performed were the ones into which Garrett poured the most passion.

But relentless rage clearly wouldn't cut it with many in Garrett's multigenerational fan base, so it's understandable that he mixes in ballads and familiar classics of the soothing sort. But now that he's safely carved a niche of his own, perhaps he could expand his audience by taking his listeners to unexpected places.


Posted by:Webmaster
Posting date:14.02.2011 - 11:07:27
Submitted by:Maya
Article date:09.02.2011
Source:click here
Subject:Interview with violinist David Garrett
Content:

The rock-star violinist chats about covering heavy metal songs and technical skill versus spirit… for a short while.

There’s no way around it: David Garrett is kind of cheesy. The German-American violinist rocks bleached locks, skinny jeans and the blazing confidence of a superstar who has appeared on Oprah. On albums with titles like Virtuoso, he zips through Rimsky-Korsakov, Michael Jackson and “Dueling Banjos.” The 30-year-old, who modeled to help pay his way through Julliard, has just released his sixth studio album, Rock Symphonies. It features slick interpretations of headbanger anthems by Guns N’ Roses, Metallica, Zeppelin and others. He chatted on the phone from New York, before kicking off a tour with an appearance on The Today Show.

Did you have any reservations about putting a violin spin on beloved hard rock music?
Of course. All artists question what they do. You have to have respect for the pieces, but that respect shouldn’t turn into fear.

How have classical people responded? Do you feel you have credibility?
I basically play for people who love music. Everything I do, I try to do tastefully and to a very high level of quality. I don’t care if classical fans love it or not, because it’s just meant to be for people who like music.

You started playing violin at age four. Was rock music important to you when you were growing up?
No. My parents were classical purists, which I never really understood. Rock music became more of an influence when I moved to the U.S. by myself to study at Julliard.

On your website you say you prefer “spirit over technicality.” That’s a rock & roll attitude. Yet you’re also in the Guinness Book of World Records as the world’s fastest violin player. So which is it?
You can only say that if you have great technique. You can have the best spirit in the world but if you have a shitty technique, your music will suck. You don’t want the audience’s enjoyment to be hindered by your technical ability. Spirit is important, but you have to have technique as your base. Either you can play, or you can’t.

What about the Ramones? That band didn’t have the greatest technical skills.
Spirit always needs to be combined with ambition. Anyone with great spirit will always work hard and be a perfectionist on his own terms. That’s more what I was trying to say.

Your tour kicks off in Seattle, and you cover “Smells Like Teen Spirit.” Was that only because it’s the most recognizable Nirvana song, or is it honestly best fitted for the violin?
It’s the most popular song, and just happens to have the best guitar riff of the early ’90s. That piece really defined everything after the glamour of the ’80s and brought it back to reality. Even though it’s been played over and over, it has this raw energy that’s so inspiring to me.

Australian guitar shredder Orianthi helped out in the studio. Is she performing on stage with you?
She’s touring at the moment, so we won’t be playing live together. She can play. She’s a real virtuoso. There’s not many female guitarists out there. At least I don’t know too many…

Just as we consider correcting him, Garrett answers “one of his other three cell phones.” He places our phone down—without putting us on hold—and berates someone, presumably from his managerial team, in his German accent. After three long, awkward minutes, he remembers us. But the conversation is finished.


Posted by:Webmaster
Posting date:03.02.2011 - 09:04:18
Submitted by:Goya
Article date:02.02.2011
Source:click here
Subject:David Garrett - Concert Preview
Content:

He’s a star everywhere from the catwalk to the Billboard charts, but violinist David Garrett is ready to conquer new terrain with his groundbreaking Rock Symphonies album, available on Decca July 20th, just in time for his newest PBS special.

This international superstar has quickly amassed a huge and devoted audience—especially of a much younger fanbase than the listeners usually associated with classical music. His fresh, vibrant take on classical music has shot new life into this genre. He has gained international stardom, with chart-topping albums and gold and platinum selling discs across Europe, in the UK and the Far East.

The super-powered David has experienced huge success with American audiences as well. Not only was he Billboard’s best-selling new classical music artist of 2009, but was the # 9 overall New Artist across all genres. His debut album for Decca, David Garrett, debuted at No. 1 on the Classical Crossover chart, and maintained its presence there for 31 solid weeks. In addition, David has been featured on Oprah, Fox & Friends, E! News, the Today Show, CBS Saturday Morning, CNN, and Good Morning America as well as NPR's "All Things Considered."

David’s first music special for PBS, "Live in Berlin," was an enormous hit as well, and was broadcast during March, June, August, September, and December pledge drives. Following on the heels of his hit PBS special, David toured the U.S. extensively with sold-out dates nationwide. Rock Symphonies brings together two of this German-born violinist’s two great loves: classical music and the rock music of his generation. "For many years, I've wanted to bring classical music to a younger audience," confides David, who was soloing with the greatest orchestras in the world by the time he was ten years old. "And I've seen fantastic results--I have a wonderful young audience enjoying Beethoven, Bach and Brahms, so that's a dream come true for me." It’s a vision that he has worked towards all his life from his pre-adolescent performances with the London Philharmonic, the Los Angeles Philharmonic, and the Russian National Orchestra to his concerts with legendary violinist Yehudi Menuhin by age 12.

When he was thirteen years old, David signed a contract as a solo artist with one of the world’s greatest classical record labels, Deutsche Grammophon. "I probably have spent more hours in my life playing violin than sleeping," the violinist, who began playing at age four, laughs. He still maintains an active classical career, playing concertos with traditional symphony orchestras.

But rock music has always been a real passion for David as well—and his concerto nights are interspersed with arena and club shows internationally with his own band. Rock Symphonies, recorded with the City of Prague Orchestra, is a love letter to his favorite bands, like Nirvana (“Smells Like Teen Spirit”), Guns N’ Roses (“November Rain” as well as their cover of Paul McCartney’s “Live and Let Die”), Aerosmith (“Walk This Way”), U2 (“Vertigo”), Metallica (“Master of Puppets”), and Led Zeppelin (“Kashmir”). "I'm very big fan of 80s rock, of power ballads and that kind of stuff,” David says. “And I think adding an orchestra elevates rock to a whole different level.” The project is made all the more special by the appearance of the blistering, young Australian guitarist-singer Orianthi on “Walk This Way” who has previously worked with Carlos Santana, Carrie Underwood and Michael Jackson (where she performs on the international smash film “This Is It”). This summer Orianthi is on tour opening for Adam Lambert and also appears on the “Rock Symphonies” PBS special.

For David Garrett, whose idols go from Jimi Hendrix and Jimmy Page to his former teachers Itzhak Perlman and Ida Haendel, there shouldn’t be any hierarchy between genres. "Choosing repertoire is very instinctive,” David observes. “For this project, it was quite easy. We had a theme—rock—and we chose things with a very strong rhythmical vibe, whether it was Beethoven or Metallica. The concept of “Rock Symphonies” has been on my mind for a very long time. I've always thought that there was a very strong connection between classical and rock; there's a very strong sense of rhythm and a very strong sense of precision in both." Certain tracks, like “Kashmir” and “Walk This Way,” are absolute naturals for Rock Symphonies (as David notes, Aerosmith already paved the way for genre crossing with their now-classic collaboration with Run-DMC). But some choices are more surprising, like an innovative mashup of U2’s “Vertigo” with Vivaldi’s Four Seasons, and a revisiting of Beethoven's Fifth Symphony, which of course experienced life as a disco favorite in the late 1970s—here, it’s recreated as a hard-rock headbanger’s special. "Beethoven was someone with rock-star appeal," David explains. "The real definition of a rock star is someone who's extremely passionate about music, somebody who's a genius, and tries not to be afraid of exploring. Beethoven was definitely not a follower." David winces when he's asked if this is a covers album. "That would be the most horrible thought,” he says wryly. “First of all, I tried to view every song from a very different angle than the original, and sometimes even changed the whole character of the piece. Secondly, not using vocals gives a lot of freedom." Born in Aachen, Germany with an American ballerina mother and a German lawyer as a father, David and his family were nurturing his international solo career since his early childhood. By his teens, he was subject to a grueling schedule of symphonic concerts and recordings—but even by then, he longed to escape that life. Without telling his parents, he fled to New York, where his life revolved around rock, clubbing, and a seemingly deserved rebellion, abandoning the classical violin. But even in that hedonistic milieu, he realized that he missed the instrument that had been such a crucial part of his identity. He decided to audition at the world-famous Juilliard School, where he was not only accepted as a student, but also invited to join the studio of one of classical music’s most legendary artists, Itzhak Perlman. While he was at Juilliard, David began picking up various side jobs, including modeling gigs. His intense, chiseled looks quickly earned him a place in such magazines as Vogue and on the catwalk for Armani during Fashion Week. With such a fashion pedigree, his personal style is also a great hybrid of influences. "My fashion sense is very rock," David observes, "though I like to wear a suit too. I like to mix it up.” That’s true for his music-making as well – as evidenced on his groundbreaking Rock Symphonies album.


Posted by:Webmaster
Posting date:03.02.2011 - 09:01:25
Submitted by:Maya
Article date:01.02.2011
Source:click here
Subject:Seattle Theatre Group present David Garrett
Content:

Seattle Theatre Group (STG) present David Garrett on Tuesday, February 1, 2011 at 7:30pm at the Paramount Theatre.

"Only those artists can afford to do crossover who have already made a name for themselves in the classical music scene." David Garrett sets high quality standards. And he knows what he is talking about. In Fall 2007 the recording artist made his appearance in Germany with the release of his crossover album Virtuoso and he has been redefining standards in the classic and crossover scene step by step ever since. The native of Aachen, son of a German jurist and an American prima ballerina, can allow himself to sound out the limits. After all, at age 29, he already looks back on a matchless career.

He gets his first violin at age four and makes his first appearance with the Hamburg Philharmonics at the early age of ten. At age thirteen he is the youngest artist to be awarded an exclusive contract with the Deutsche Grammophon Gesellschaft. In 1999, at the height of his career, the shooting star redirects his energy, deciding to leave his predetermined path as a classical violinist and move to New York - not to take a time-out but rather to place his musical proficiency on a theoretical foundation and perfect his technique. He enrolls at the prestigious Julliard School, studying musicology and composition.

Since completing his studies, the visionary violinist has committed himself to a clearly defined goal - introducing young people to the classics and kindling enthusiasm for reputedly serious music. Combining classical elements with those of pop and rock as well as rhythm and blues is a means to this end. "Regarding the crossover pieces I arrange, I strive to attain a level of performance at least equal to that expected of classical works. When another violinist looks at one of my scores he must say "The violin part is damned good. It is so difficult I'd have to practice it for hours before being able to play it." Concerning his ambitions, David Garrett puts it succinctly. "You have to be a world-class violinist in order to record a good crossover CD. This poses an even greater challenge than classical music does because you want to present things to your listeners in a completely new light while putting on a superb violinist's performance. The great virtuosos from Paganini to Heifetz did just that. Anything else would be merely mindless commercialism."

Whereas many conservative contemporaries wonder whether uncompromising excellence and popularity, art and commerce can or may even be reconciled, David Garrett Long ago proved that it is possible, enthralling listeners of all ages. The same new, incredibly electrifying spirit pervades lofty philharmonic halls holding sold-out classical concerts and open-air arenas staging crossover programs. The people sense that they are being taken seriously, that a person is performing who approaches the task with utmost discipline while creating an awareness for various musical genres and styles. Garrett's desire to diminish the awe of classical music felt by young audiences in particular, to spark a whirlwind in the music scene while striving to sweep as many people off their feet as he possibly can is perpetually fulfilled.

David Garrett is not only a technically brilliant recording artist who has received the praise and support of such eminent violin virtuosos as Isaac Stern, Yehudi Menuhin and in particular Ida Haendel. His greatness is also reflected in his mental countenance. As one of the few classically versed artists he has an undistorted perspective on tradition and modernity. Thinking in terms of fixed categories is foreign to him. "In my eye, the Paganinis, Liszts and Chopins of the 19th century were the world's first rock stars," he says. Garrett knows the secrets of great music and understands that the more substance a work has, the more possibilities an artist has to make it his own and place it in new contexts. "Bach arranged Vivaldi and Mozart arranged Turkish marches. Beethoven wanted to enchant the masses too, employing musical means to this end. Great composers have always incorporated elements which were popular in their day and there is nothing reprehensible about that. On the contrary."

Thus his musical expertise inspired him to interlace Michael Jackson's Smooth Criminal with Mozart's Turkish March - and he did so before Michael Jackson's death, before the world paid tribute to this exceptional talent. David Garrett sets trends of his own because he is also ahead of his time. And yet he knows that talent and a command of one's instrument do not suffice alone if one is to intellectually and spiritually penetrate a work and gain a grasp of it. A background knowledge of music theory enables the well-traveled artist to analyze and scrutinize scores. "Many great works are unbelievably rich in diverse possibilities. A certain passage in Mozart's Turkish March and one in Smooth Criminal have almost the same harmonic progression. This goes to show that apart from instrumentalization, music has hardly changed at all over the past 250 years. We continue to work with the same material."

Only this mixture of perfectionism and openness, thoroughgoingness and foresight explain the overwhelming success which David Garrett has had since the release of Virtuoso. Whereas this recording achieved golden status and, as one of the most successful projects of the year, was distinguished with the ECHO Klassik 2008 award, the successor album Encore, released in October 2008, went even one step further, reaching platinum status and heading the US classical and classical-crossover charts for months.

With his album Classic Romance, released in November 2009, the virtuoso violinist returned to his point of departure: classical music. It is extremely important to him that his listeners grasp the path he took in his crossover arrangements. Thus for him, Classic Romance was a special CD with a very personal dimension. In the Mendelssohn Year Garrett chose this prematurely deceased composer's violin concerto to form the focus of his recording.

And since the artist with American, German and Russian roots wanted to create something Romantic, he arranged seven small works centering around Mendelssohn and twining through his age of Classicism and Romanticism, selecting such works as Antonin Dvo?ák's Humoresque, Jules Massenet's Meditation, Vocalise by Sergei Vasilievich Rachmaninoff and None But The Lonely Heart by Pyotr Ilyich Tchaikovsky. "The more composers I can include in such a project, the more instructive it will be for the listener. I hope to awaken curiosity in newcomers to classical music so they will want to hear more. Thus on the one hand the entire Classic-Romantic program is highly classical but on the other hand it reveals a lot about my personality and my preferences." The overwhelming response to Classic Romance, which has won over even larger numbers of enthusiastic listeners than Encore did, is proof of a fortunate mixture. David Garrett is delighted that his classic album has received such a marvelous response. "Classical music is very close to my heart and I am very happy that people understand my message."


Posted by:Webmaster
Posting date:07.05.2011 - 07:52:13
Submitted by:MAE
Article date:28.01.2011
Source:click here
Subject:David Garrett UK Showcase
Content:

The first UK Decca showcase of the year was one to remember as international superstar David Garrett dazzled the crowd with his violin virtuosity on January 25th. This was violin playing with a difference. At the opulent venue, Café de Paris, in London’s Piccadilly, Garrett made a surprise entrance from the balcony, playing as he walked down the sweeping staircase. Backed by his own band, David brought a new energy to tunes such as “Smooth Criminal” and “Live And Let Die” with an eclectic style that combines his twin passions of rock and classical music.

The first UK Decca showcase of the year was one to remember as international superstar David Garrett dazzled the crowd with his violin virtuosity on January 25th. This was violin playing with a difference. At the opulent venue, Café de Paris, in London’s Piccadilly, Garrett made a surprise entrance from the balcony, playing as he walked down the sweeping staircase. Backed by his own band, David brought a new energy to tunes such as “Smooth Criminal” and “Live And Let Die” with an eclectic style that combines his twin passions of rock and classical music.

Since David Garrett usually plays to some 15,000 people a night, experiencing his artistry in such an intimate setting was a real one-off.

A slight technical hitch prompted the violinist to play some unaccompanied Bach, whereupon the room – packed full of key UK and international media, Universal Music executives and fans – was stunned into silence by his flawless impromptu performance.

After an onstage Q&A session, David was surprised to be presented with a disc by President of Decca Records Group, Dickon Stainer, to mark worldwide record sales of 2 million.

Although Garrett has the good looks to gain modelling contracts and a GQ award, it was his blend of technical perfection and musical passion, even as a youthful prodigy, that led to him being the youngest ever artist to sign to Deutsche Grammophon at the age of just 12!

Hearing David Garrett’s thrilling yet immaculate playing explains just why he is listed among the biggest grossing live artists of 2010 in Billboard. His performances combined the two contrasting musical genres effortlessly: a superb launch indeed for his forthcoming DVD, Rock Symphonies – Live On A Summer Night, released through Decca internationally on March 7th.

Earlier in the day, around 25 Universal Music delegates from around the world who had flown in for the UK David Garrett showcase met in Kensington’s exclusive Baglioni Hotel, for a Decca UK presentation of current and forthcoming priorities for 2011.

Host Mark Wilkinson, MD of Decca Records pointed out, the timing of this ‘Decca Day’ presentation could not have been better as the label has two albums riding high in the UK Midweeks both Imelda May’s Mayhem and Alfie Boe’s Bring Him Home are in the Top 10 week commencing January 24th.

Dickon Stainer, started off the proceedings in the Kensington Suite by welcoming guests and describing the true diversity of the Decca ‘Black’ label, before handing over to Mark Wilkinson who showed a 17-minute video presentation featuring artists David Garrett, Imelda May, Eric Whitacre and Alfie Boe – together with a first look and listen of new signing Mary-Jess, and Hayley Westenra’s incredible new collaboration with Maestro Ennio Morricone!

Mark introduced Hayley into the room to a warm applause, giving delegates the chance to talk with her directly about the new album and her experience of working with Morricone.


Posted by:Webmaster
Posting date:28.10.2010 - 20:21:32
Submitted by:Kleine
Article date:01.10.2010
Source:click here
Subject:Storia di un fuoriclasse che mixa con U2 e Nirvana
Content:

Original article


Posted by:Webmaster
Posting date:27.08.2010 - 12:24:46
Submitted by:Maya
Article date:26.08.2010
Source:click here
Subject:Violinist David Garrett: Breaking Down Barriers to Make Classical Music Accessible for Younger Generations
Content:

Breaking down the traditional barriers of classical music and making it more accessible and attractive for a new generation is not only a mission of renowned violinist David Garrett, but his mantra. When he is not performing with the world's most famous orchestras, he is collaborating with artists from different genres. He's created innovative arrangements using songs from Metallica to Michael Jackson with his band, adding keyboard, guitar and drums to his world class talent at violin.

Known for his cross over work in bridging classical music with contemporary styles, David has been introducing young people to the classics and kindling enthusiasm for "reputedly serious music" in sold out concerts and chart topping CDs for years and hopes to continue to do so with his new album Rock Symphonies.

He is also the latest musician to come on board with Music Unites Classical Initiative, a program aimed at making classical music more accessible for younger audiences in addition to introducing classical music to under-served communities and schools. His desire to diminish the negative stigma of classical music sometimes felt by young audiences mirrors the goals of Music Unites.

"I think Music Unites is a wonderful project and it's exactly what I am all about -- collecting young audiences for something, especially when it comes to classical music, so it fit perfectly with what I am interested in," he says of working with the organization that serves to raise funds for music education in inner city schools. "I think music in general is important to young people. I don't exclude rock or pop or R&B. I think music education and love for all types of music is extremely important when growing up."

Born and raised in Germany, David began playing violin at the tender age of four and appeared with the Hamburg Philharmonics just six years later. By age 13 he became the youngest artist to be awarded an exclusive contract with the Deutsche Grammophon Gesellschaft.

"Music always gave me a strength and balance in life and always took me out of my normal daily problems," he says of being a young musician. "Music is a wonderful way to compensate for those good and bad feelings. Classical music is a combination of everything we hear in pop culture as well. It's part of everything."

David first became interested in cross over music when he moved to New York to study at Julliard where he was one of Itzhak Perlman's first students.

I really wanted to connect to a lot of people and especially the dance and acting people at Julliard so I would mix classical music. I started doing improvisations on contemporary rock or pop tunes and it always went down very well with my fellow students. Basically I just decided that there is a wonderful opportunity there to connect those two worlds-on the one side classical, on the other side more contemporary and something people are used to. I would play Bach and then Black Eyed Peas or Nirvana or whatever was up and coming at that point and just mix it all together. It's a wonderful opportunity to branch out.

David's first cross over album Virtuoso received the ECHO Klassik 2008 award, and his next album Encore, released in October 2008 reached platinum status and was at the top of the US classical and classical-crossover charts for months. His next release, Classic Romance, focused exclusively on classical compositions. He is quick to point out though, the small amount of difference between traditional classical and today's more modern forms.

In Mozart's Turkish March and one in [Michael Jackson's] Smooth Criminal have almost the same harmonic progression. This goes to show that apart from instrumentalization, music has hardly changed at all over the past 250 years. We continue to work with the same material. In my eye, the Paganinis, Liszts and Chopins of the 19th century were the world's first rock stars. Great composers have always incorporated elements which were popular in their day and there is nothing reprehensible about that. On the contrary.

Due to his large audience culled from his earlier cross-over albums, Classic Romance saw record breaking sales and introduced his fans to a traditional side of his music.

My favorite audience is my generation, people between 20 and even younger. Kids these days are much more adventurous with their choices and exposed to so much more. They have the Internet there is the possibility of having every sort of musical direction at their disposal. Funny enough, my fans are a mixture of people who come from classical music and loving cross over music, or they come straight from pop and R&B. It's a wonderful opportunity to just enjoy music in general.


Posted by:Webmaster
Posting date:16.07.2010 - 09:36:29
Submitted by:Maya
Article date:15.07.2010
Source:click here
Subject:Violinist David Garrett Combines Unlikely Mix: Classical and Rock
Content:

Mozart Meets Michael Jackson

David Garrett may appear to be your typical rocker. The 28-year-old German classical violinist dresses like a rock star, wears his blond hair long, and sports several big rings, jewelry, and a tattoo. But, don't let his style fool you. Garrett is a classical musician with a blend of pop, rock. A musical contradiction by most standards.

That's exactly the image Garrett wants to evoke. He plays Vivaldi on his new album whose title explains it all, "Rock Symphonies." He also plays Led Zeppelin, Nirvana, and Aerosmith. This classically trained prodigy enjoys creating crossover work that combines several musical styles: pop, rock, and classical. Much to the chagrin of his symphony-playing counterparts.

A purist with flair, Garrett likes the contradiction. He relishes the opportunity to reach a broader audience. The open-minded violinist has the courage to forge out into unknown directions for the sake of creativity. Because of his eclectic tastes, Garrett is hoping people will dig the classical presentation of favorites AC/DC to Michael Jackson.

"Rock Symphonies" comes after the German's highly successful 2009 release, "David Garrett," capturing the No. 1 position on Billboard's classical crossover chart. This time around Garrett wants to cross the ocean to extend his listening audience in America. The release date for the new album is July 20, with his second public television special, Rock Symphonies: Live on a Summer Night, airing in August.

"Classical music is the foundation of everything I do, " the Julliard School alum points out. He makes no apologies for his brand of music. "You have to be a world-class violinist in order to record a good crossover CD," Garrett adds. There is no compromising the standards of excellence on his part. It's just another dimension of what you can do with classical music to make it appealing to the masses.

Garrett's musical journey began at the tender age of four, when he learned to play violin. At age 10, he appeared with the Hamburg Philharmonics. By age 13, the young prodigy was playing professionally with his first exclusive contract.

Blending the old with the new works for him. Garrett particularly enjoys the 70's and 80's rock era, (oh yeah!). Combining those songs with a Brahms and Beethoven beat is a recipe for a "classical contemporary cocktail."

A tour is in the works for 2011. As for the direction Garrett will venture next with his music--he says he is not really sure. But, he does have ideas. Plenty of them. And, the possibilities are endless. Whatever Garrett creates, you can bet it will be unique, grooving, hip, and maybe even soulful, with an elegant classical twist.


Posted by:Webmaster
Posting date:16.07.2010 - 09:37:46
Submitted by:Solveig
Article date:15.07.2010
Source:click here
Subject:David Garrett's goal: Pull rock fans into the classical world
Content:

On the edge of stardom in USA: David Garrett, who is already a success abroad, is finding an American audience with a second public TV special, Rock Symphonies: Live on a Summer Night, airing next month.

For many classical musicians and fans, the term "crossover" evokes images of slickly marketed acts plying pop audiences with pompous pabulum. But German-born violinist David Garrett embraces the c-word as heartily as others shun it.

"Crossover music is a wonderful way for classical artists to reach out to new audiences," Garrett says. "But your goal must be to bring those people back into your own world."

That's the plan behind Rock Symphonies, Garrett's follow-up to the self-titled U.S. debut that made the 28-year-old former child prodigy the genre's hottest new star.

Like 2009's David Garrett — which entered Billboard's classical crossover chart at No. 1 and sold 80,000 copies, making him the year's best-selling new classical artist —Symphonies, which will be out Tuesday, mixes pop and classical pieces, this time focusing on arena rock.

Photographed for the album cover in rock-star garb, his black jacket open to the waist and his long blond hair brushing a chunky silver necklace, Garrett looks like a cross between Axl Rose in the late '80s and a chiseled fashion model — which he was several years ago, taking gigs while studying at New York's prestigious Juilliard School.

Guns N' Roses'November Rain is one of the tunes featured on Symphonies, which also includes instrumental covers of Led Zeppelin (Kashmir), Aerosmith (Walk This Way, with Orianthi on guitar) and Nirvana (Smells Like Teen Spirit), as well as a mashup of U2 and Vivaldi (Vivaldi vs. Vertigo). He's accompanied by the City of Prague Philharmonic Orchestra and his own backing band of pop musicians.

"Classical music is the foundation of everything I do," says Garrett, who began playing the violin at age 4 and was performing with major international orchestras before he reached his teens.

"But I'm a huge fan of '70s and '80s rock. I grew up playing for older generations, and I always wanted to perform for my generation — to play Mozart and Beethoven and Brahms for them, and AC/DC and Metallica and Michael Jackson as well."

The unapologetic bombast with which Garrett practices his gospel has not endeared him to all critics. "His technique is certainly impressive," says veteran music journalist J.D. Considine, a contributor to Canada's The Globe and Mail. "But what makes a great classical violinist isn't speed or agility — it's musicality."

Considine allows that Garrett's commercial potential is impressive. "If Garrett can attain a mass audience in the USA, he should be applauded, because this type of music has been much more successful in Europe."

Indeed, Garrett has already enjoyed several gold and platinum albums abroad. But he's also becoming a more visible presence here, thanks to exposure such as the TV special Live in Berlin, broadcast on PBS last year. A new special, Rock Symphonies: Live on a Summer Night, also shot in Berlin, will start airing on public television stations in August.

Not that Garrett, who is based in New York, is entirely preoccupied with professional, or creative, advancement. "There are two different times in my life. I focus on my work for two or three months, then I take a week off and burn the candle at both ends. I don't take weekends when I'm touring or in the studio, so when I'm back home, I like to throw a party."

Garrett plans to tour again in 2011. When he next enters the studio, it will be for "a core classical record — a Brahms concerto, or something from that era."

And after that? "I'm up for anything. Maybe I'll go in more of a rhythm and blues direction. Making music is always more interesting when you don't know what's going to happen next."


Posted by:Webmaster
Posting date:15.07.2010 - 06:07:52
Submitted by:Lyra, Susi
Article date:13.07.2010
Subject:David Garrett et les Solistes européens Luxembourg
Content:

Original Article


Posted by:Webmaster
Posting date:18.06.2010 - 09:14:49
Article date:18.06.2010
Source:click here
Subject:David Garrett Rocks The Classics On New Cd Rock Symphonies
Content:

New York, NY (Top40 Charts/ Decca Label Group) - David Garrett - the best-selling new classical artist of 2009 - brings listeners along on a roller coaster ride of genres colliding on his sophomore album, Rock Symphonies. Rock Symphonies displays Garrett's love of both classical and rock, marrying the two genres with a fierce intensity. Featuring new interpretations of his favorite rock anthems by U2, Nirvana, Metallica and Aerosmith to name a few, David's virtuosic violin playing shines through with precision and power, backed by his band and The City Of Prague Philharmonic Orchestra. With his new Public Television concert special slated for an August broadcast, David Garrett is poised to be the breakout star of the summer. Rock Symphonies will be released on Decca July 20th.

The evolution of Rock Symphonies was a natural one for the 28-year-old Garrett. Having spent 2009 on tour in all corners of the world, he would find himself performing in clubs to arenas with a live rock band one night, followed by a classical concert hall with full symphony orchestra the next. Having a dual career is a rarity, and doing it successfully even more so. The bold violinist has always been a fan of both the classical and rock worlds he straddles. "I always enjoyed when rock groups integrated orchestra into in their sound, and it elevated the music to another level," comments Garrett. He continues, "any musician loves having the full sound of an orchestra behind them - it's an amazing experience."

Rock Symphonies main recording sessions took place at New York City's famed Electric Lady Studios, with the orchestra recorded in Prague. Highlights of the album include "Vivaldi Vs. Vertigo," a mashup of Vivaldi and U2's Vertigo, Nirvana's classic "Smells Like Teen Spirit," Led Zeppelin's timeless "Kashmir," and Aerosmith's "Walk This Way," featuring a guest performance by Aussie guitar sensation Orianthi (seen in Michael Jackson's "This Is It"). Orianthi also joined Garrett on stage in Germany recently for his new Public Television concert special, "Rock Symphonies," to air on PBS throughout August on stations across the country.

David Garrett has been winning over audiences since the release of his self-titled debut album in June 2009. His numerous appearances have included performances on The Oprah Winfrey Show, Good Morning America, Today Show, Fox News Channel, CBS Saturday Early Show and his first PBS smash, "Live In Berlin." His technically jaw-dropping performance of "Flight of the Bumblebee," was recorded in the 2010 Guinness Book of World Records as the fastest-ever performance of the piece (a blistering 66 seconds), wowing crowds the world over. In addition to being the best-selling new classical artist of 2009, he was also Billboard's No 9 highest-charting new artist overall, across all genres. His CD David Garrett, debuted at No 1 on Billboard's Classical Crossover Chart, and held the No 1 position for nine weeks, remaining in the Top 10 for over 40 subsequent weeks .

David Garrett began playing violin at age four, and was signed to the prestigious classical music label Deutsche Grammophon by thirteen. Without telling his parents, he later fled Germany for New York, where he was accepted at the world famous Juilliard music school, studying under the legendary violinist Itzhak Perlman. As a way to pay the bills, he moonlit as a busboy and model, landing him in the pages of Vogue and the Fashion Week catwalks for Armani. He subsequently has gained international stardom, with gold and platinum selling discs internationally, and chart-topping albums in Germany, Austria, Switzerland, the Far East and a Top 20 UK hit. His charisma, passion and dedication to the violin defy categorization.


Posted by:Webmaster
Posting date:09.04.2010 - 19:37:55
Submitted by:Maya
Article date:07.04.2010
Source:click here
Subject:Review: Violinist David Garrett in Clearwater
Content:

AC/DC's Thunderstruck and violin? No problem. Michael Jackson and Mozart? Total kindred spirits.

David Garrett is the latest crossover phenom, but he has some assets that make him more interesting than most. The main thing is that he is a genuinely fine violinist, with impressive technique and a lushly secure tone on his Strad, which is miked. Garrett opened his concert Tuesday night by strolling down the aisle to join his band onstage while playing the Carmen Fantasie, a traditional virtuoso bon-bon, followed by his version of Queen's Who Wants to Live Forever?

Oh, yes, Garrett, 28, also has fashion model good looks, dressed in boots and low-slung jeans, black vest over plaid shirt, his tawny, blond-streaked hair in a ponytail.

The concert was presented by Ruth Eckerd Hall for a virtually sold-out crowd of 409 at the Capitol Theatre in downtown Clearwater. It's a good venue for this sort of show, intimate and a bit rough and ready in its unrenovated state. Unlike many classical-pop crossover projects, the sound mix was deftly done, with good balance between Garrett's violin and his band of guitar, bass, keyboard and drums.

For the most part, Garrett played numbers from his self-titled album, but Tuesday's program had a nice new arrangement of Live and Let Die that featured good interplay between the violinist and John Haywood on keyboard. Metallica's Nothing Else Matters was surprisingly delicate, perhaps the most classical sounding of the rock arrangements. Led Zeppelin's Kashmir went down well with the adoring audience.

I thought the classical stuff showed off Garrett's talents best, with flashy, fun performances of Paganini variations, the Brahms Hungarian Dance No. 5 and a super-fast Csardas. He also has a knack for stylish treatments of the easy listening fare made for PBS pledge drives, such as a salsa-inflected Volare and a lively Dueling Banjos between the violinist and guitarist Marcus Wolf.

Garrett, flashing a sly grin, has a raffish stage presence, and he told a charming story of his first New York apartment -- a tiny hotbox with no air conditioning -- to introduce his sensuous rendition of Summertime.


Posted by:Webmaster
Posting date:09.04.2010 - 19:39:44
Submitted by:Maya
Article date:01.04.2010
Source:click here
Subject:Violin sex symbol David Garrett plays the Capitol Theatre
Content:

Violinist David Garrett is being promoted as a new sex symbol for classical music. It's a tradition that reaches back to the original violin superstar, Niccolo Paganini, the 19th century Italian who was as famous for his romantic conquests as his showy technique. Stewart Granger and Klaus Kinski have played Paganini in movies.

There's just something about violinists and sex. Linda Brava, a Finnish violin goddess, was on the cover of Playboy. Vanessa-Mae and the violin girl group Bond are as famous for their glamorous looks as their music. Anne-Sophie Mutter, the German ice queen, has long been an object of desire for classical music geeks. Google "violin'' and "matinee idol,'' and you get lots of links to Joshua Bell and Tim Fain, a pair of hot American virtuosos.

So now comes Garrett, a German who is on tour to support his self-titled first album in the United States (he has nine international releases). As a violinist, he's the real thing, having been a prodigy in Germany and featured as a soloist as a teenager with the Munich Philharmonic under Zubin Mehta. He recorded Mozart and Tchaikovsky concertos with major conductors such as Claudio Abbado and Mikhail Pletnev. At the Juilliard School in New York, he studied with Itzhak Perlman.

But Garrett also worked in New York as a model, including spreads in Vogue and a deal as global brand ambassador for Banana Republic. At some point publicists started referring to him as the "David Beckham of the violin.'' He also got burned out on Bach sonatas and partitas and "ached to escape the confines of classical music,'' as his Web site puts it. In this respect, he somewhat resembles British violinist Nigel Kennedy — "the Nige'' — who was classical music's rebel without a cause in the 1990s, playing a lot of jazz, appearing on Sarah Brightman's Harem CD and spicing up his rendition of the Beethoven Violin Concerto with a Jimi Hendrix-inspired cadenza.

The album David Garrett has more crossover than classical with covers of songs by Metallica, Queen and Michael Jackson. He plays a version of the Bill Withers song Ain't No Sunshine, as well as the theme from Pirates of the Caribbean. There is a smattering of classical, such as the "Summer'' movement from Vivaldi's Four Seasons and Bach's Air, with an R&B track beneath it.

Garrett is known for fast playing, and a couple of tracks — a dance tune from Zorba the Greek and Dueling Banjos (Dueling Strings) — show off his fancy fiddling.


Posted by:Webmaster
Posting date:25.03.2010 - 11:03:15
Article date:16.03.2010
Source:click here
Subject:DAVID GARRETT – Evolution of an Icon, Metamorphosis of an Artist
Content:

Reno, Nevada - Interview by Dorothy Wu. Twilight fans, beware! Rob Pattinson doesn’t hold a candle to this golden newcomer, who should have been cast to play the contemporary romantic Edward Cullen on the big screen.

And anyway, didn’t author Stephenie Meyer intend for Edward to be a blindingly handsome, blond, violin-brandishing, music-prodigy fashion model with impossibly beautiful thick-fringed eyes, rock n’ roll style and an angelic smile?

Last Saturday, Notes on the Road wandered through the Sierra Nevada mountains into cavernous neon-lit Silver Legacy Casino & Resort, in Reno, to find violinist David Garrett on tour with his crossover band and program that includes arrangements of tunes by Michael Jackson, J.S. Bach, Jimi Hendrix, Georges Bizet’s opera Carmen, Metallica, Johannes Brahms, and theme songs from major motion picture films like Pirates of the Caribbean.

Garrett could have easily had a mainstream classical career, but instead chose to reinvent himself as both a classical and a crossover performer, trailblazing a unique career path as a rare multi-genre artist who reaches out equally to politely murmuring black-tie classical audiences in gilded concert halls, and to the hundreds of thousands of boot-stompin’, hand-clappin’ masses of all ages that pour into venues across the country to hear him play Smooth Criminal and the Habanera from Carmen.

Videos, fan sites and other media of Garrett abound on the internet, but what you won’t see in cyberspace is the atmosphere of relaxed enthusiasm that spreads throughout his audiences, or the scores of children that leave his concerts holding Garrett’s CDs in hand, wearing his official tour t-shirt, and begging their parents for a violin.

From the conversation we had with Garrett after his show:
Notes: How do you stay true to yourself – Where do you find the courage to do what you do, and the strength to sustain the realization of your artistic vision?
DG: Oh – there are a lot of answers to that question. How do I stay true to myself as an artist? I would say that in the end, I’m just an interpreter of great music, and that should always be humbling. It should never make more out of who you are. I always try to serve the composer. In the end you really have to make sure that you deal with the music and the composer in a serious way... so you can’t be full of yourself. Especially when you work the big classical sonatas, concerti, chamber music – you know your place. In the end, those composers were the geniuses, not me. And I am merely trying to bring this music out for a lot of other people. So that kind of keeps me on the ground, artistically.
It’s about the dedication to really deliver and present great music on the highest level. Not even necessarily for the audience, but for the composer’s sake. That should always be the main concern as an artist, to really deliver the guy that wrote this stuff.
In my personal life, there are probably other things which keep me on the ground- friends that I enjoy hanging out with, and family - all those things play a big role in my life.

Notes: When did you start doing your own arrangements?
DG: Well, I always did a little here and there but I kind of seriously started during college, when I was attending Juilliard School. As far as I remember, Juilliard was the first time I was connected with people my age....people who had the same interests, people that had different interests, it’s all the same idea of going out there and doing something with your life on stage. Whether it’s dancing or acting or music, it’s all the same. I always felt a kind of reservation with classical music which I never understood, and I was always interested in how I could “break the ice.” Juilliard gave me a very good idea about what young people of my generation like to listen to.
And funny enough – it’s not the music itself which is the issue with classical music. It’s the environment in which it’s presented, the way it is presented, and it’s also the mixture of music. You’ve got to give people a little bit of something that they know, something that they feel comfortable with, and then they are going to feel comfortable with classical pieces like Bach, Brahms, etc. That’s my experience, and out of that essence, I started doing my programs.

Notes: It was great to see the audience tonight and feel the audience tonight – the enthusiasm. It goes the other way around too! Hearing you play that Metallica ballad and Jimi Hendrix – it made me want to go and check out all their other albums.
DG: Exactly! It goes both ways.

Notes: Thank you so much for being a bridge for people, for being out there. So few classical musicians have actually put themselves out there and done what you do all the time these days. It takes guts!
DG: Well I don’t know, I think people can do it, but they just might be missing the big picture. Being an artist in classical music also means that you also have the responsibility to promote classical music.
Every other genre promotes their music like crazy – R&B artists go out there and promote their genre. Sometimes classical musicians are so snobby they think “Oh the music is so great, I don’t have to do promotion for it.” Which I think is a shame because in the end, in order for something to survive in the long term, it’s not only the greatness that a few people know about – you really gotta make sure that every year and every day and every week, you work for the exposure. And that’s as important for classical music as it is for rock n’roll.

Notes: Have you ever received pressure associated with artistic integrity while going commercial and mainstream with your career? DG: Oh yeah, of course.

Notes: How do you respond to criticism from a sometimes unforgiving and even bitter purist classical crowd?
DG: Very frankly put – I don’t give a [expletive]. Seriously, you can quote me on that.
Because in the end what is the integrity of an artist? The greatest artists are not those who judge themselves by what other people tell them what they are, but those who judge themselves. Period. That’s the hardest thing to do – to be objective with what you do. Having this objectivity means also that if there’s something somebody writes that you don’t agree with, this also gives you protection. And that’s very very important.
Of course if you do something commercial, there’s always going to be a few hardcore classical people who are not gonna like that. But in the end, if you really know music, and if you really can judge yourself objectively, that should be more important than anything else. More than the public, than critics, even more than friends...Well, with friends sometimes of course you gotta listen [smiles], but- let’s say public and critics. They should never be like a guideline. Even if you have great success during one night, and you go offstage and get a standing ovation, you should always be critical, always know if you were 100%, 99%, 95%, no matter what the success.
For instance, I go offstage and even if it’s a success, if I know that I didn’t do 100%, I am not happy. I’d rather go offstage and feel that I did great, and get a [expletivey] review the next day.

Notes: Going back to your first performance that ventured into crossover realms – when was it, and what did it feel like to be doing this kind of program and putting yourself out there for the first time?
DG: I think it was 2002 or 2003 – it was a crossover event, but I was the “classical” artist, in Antwerp. I played Beethoven and Saint-Saens, classical pieces in a non-classical event, for people in the audience who don’t typically listen to classical music. The enthusiasm that night was truly an eye-opener. Basically saying that classical music really does connect with everybody but it’s just a matter of bringing it to the people.

Notes: What goes through your mind when you think back onto your first performance when you were age 5?
DG: I really can’t remember that time. I swear to god! Sometimes I feel like I’m a computer, like I have to erase stuff in the past in order to be able to move in the present. I don’t really remember that time. It was such a long time ago, and there are so many memories in between. I’d kind of rather hold on to memories in the last recent years than something that’s an eternity away.

Notes: You have quite an exhausting tour schedule...
DG: Yeah, I do. But you know you always get the energy when you walk out there.

Notes: Seems like you were born to be on stage, able to be so natural ~
DG: Well, I always wanted to refuse that comment; I don’t think it’s something you’re “born to do”... but I do think that as an artist you’ve got to be vulnerable in certain situations.

Notes: You had the entire audience in the palm of your hands, before you played Gershwin’s Summertime, just talking about your search for an apartment in New York City years ago, and the hot summertime, practicing in front of the fridge~
DG: I love talking to an audience! Because in the end it connects, it really connects. These days, in classical concerts god forbid if somebody coughs - they get looked over like they should be embarrassed for coughing... I don’t like that. So basically in the end, I think that classical music was always meant to be fun – especially in the 18th and 19th century. People had such a great time going to the opera.. it was a society event, people went to have a good time, people clapped between the pieces.
In Beethoven’s time during symphony concerts – the audience clapped. These days when you go to a concert to hear a symphony, god forbid if you clap after the first movement....it’s BULL-[expletive]. They did it 200, 150 years ago. Who are we to say that we are better now?
That’s just bull. I don’t like that. I really don’t. And it’s with this understanding, I try to give to people an experience that music was originally intended for – a way of getting away from your troubles, a way of getting away from your everyday life problems, and having a good time. Somehow in the early 20th century classical music unfortunately started to become an elite thing...but the composers never felt that, so why should interpreters make a big fuss out of it?

Notes: Well, thanks for bringing classical music back to the greater public. It was really heartwarming to see how people of all ages – children, grandparents, teenagers, adults – were all enjoying themselves so much~
DG: That is really also something that I genuinely enjoy.

Notes: They should just hire you to do outreach programs at places like Carnegie Hall!
DG: [smiles] It’s very very sweet of you to say that. Things develop as they develop – if Carnegie Hall asked me, I would certainly not say no! But I’m sure something like this also has to grow.. especially in prestigious places like Carnegie Hall, I’m sure that they have their traditions..

Notes: You’ll be the grassroots movement instead, that’s sweeping the country by storm!
DG: [Laughs]..Let’s see. Let’s see what happens.

Notes: What are you excited about working on next?
DG: Ohhhh, there’s a lot of things. I just finished up a tour with Jean-Yves Thibaudet and Gaultier Capucon, and we’re going back on tour in Asia with Brahms, Haydn and Mendelssohn. We have a really good time together. Next up: we’re taking this show to Switzerland for 10 concerts, then going back and doing the other leg of the tour on the East coast (there’s another 16 performances there), and then I’m going to Germany and doing a recital tour with the French pianist Julien Quentin... Brahms 3rd, Ravel Tzigane, 2nd Partita and Beethoven Spring...the second half is going to be quite long!
End of April / May we’re going to start recording another classical album in New York, and to be quite honest, I don’t remember after that. I always like to mix it up – for instance in January I just toured with a crossover program for 10 shows, and then I toured with a classical program – the pieces on an album I just recorded which includes a couple of short romantic pieces I got to rearrange, and the Mendelssohn concerto with Andrew Litton conducting.... Around 60 – 70 percent of my shows are core classical. This year I performed 220 shows - it’s a lot of work, but when I’m not sick (like I am today) it’s a lot of fun.

Notes: Tell us about what you’re wearing! DG: Jacket - S. Oliver, Shirt- G-Star, Pants -S. Oliver. Some Japanese boots. Rings and necklace: Thomas Sabo – a German accessories designer I like to do testimonials for. Hat--I stole it from somebody!


Posted by:Webmaster
Posting date:25.03.2010 - 11:18:47
Submitted by:Solveig
Article date:09.03.2010
Source:click here
Subject:Violinist David Garrett Balboa Theatre Show Review
Content:

I first heard of German-American violinist David Garrett a few years ago, after he made worldwide headlines for falling down a concrete flight of stairs after a holiday concert in London. Thankfully he was uninjured, minus a few scrapes and bruises. His violin, however, was not. He landed on his violin case and when he opened it, his Guadagnini, crafted in 1772, lie in pieces. He pronounced it “a mess.”

The prescription? Eight months in the repair shop, but Garrett needed his violin back sooner than that. He had another concert date in London, on Valentine’s Day. In a too-good-to-be-true twist of fate, Garrett received a Stradivarius to play days before the show, flown in special from Milan. He has played a 1710 Stradivarius ever since.

It was a stunning story, full of intrigue. I found Garrett’s discography online and was surprised to discover that everything was an import; there were no U.S. releases. At the time it didn’t occur to me to shop amazon.de instead of amazon.com.

But there was information on Garrett, much of it in the European press. David Garrett, born in Aachen, Germany to a German father and an American mother, picked up the violin at age four. Initially the instrument was brought home for his older brother, but the youngster took to it and within the year he was playing in public.

When he turned eight, he was prepping for shows booked with the London Symphony Orchestra and the Los Angeles Philharmonic, and at 13 he was signed to the premiere classical label Deutsche Grammophon as a soloist. By his late teens he’d already amassed a staggering resume of recordings, performances and tours. He moved to New York City and, to top it all off, secured a once-in-a-lifetime opportunity to become the first student under the tutelage of Itzhak Perlman at the Juilliard School, from which he graduated in 2003.

Further intrigue ensued. How could such an astounding talent, who’d already conquered audiences across Europe and played in India and the Far East, be so unknown in the U.S., the country he’d called home for nearly a decade? Where were the American music critics? Under a clear night sky outside the beautifully restored Balboa Theatre in downtown San Diego on the last day of February, I wondered how many other concertgoers wondered the same.

His band of four (drums, bass, guitar and keyboard) made its way on stage as the lights dimmed, but Garrett was nowhere to be seen. Then the first notes of Carmen Fantasie wafted down the aisle, followed by Garrett strolling minstrel-like, somehow managing to play, walk and smile all at once, his violin plugged into a wireless microphone to amplify its sound.

When he hit the stage his band joined him in a spicy, Spanish flamenco-styled rendition that quickly heated up the theater’s Spanish Revival-styled interior. What followed was two hours of such rich and exquisite vigor by Garrett and his bandmates that it was a wonder as to how they could possibly maintain this intensity within the span of one performance, much less a 22-city North American tour – Garrett’s first.

Dressed in a black shirt and jacket and shiny gray pants, his dark-blond hair tied back in its usual ponytail, Garrett sports a five o’clock shadow and tattoos. He doesn’t so much look like a classically trained violinist as he does a grunge rocker á la Kurt Cobain, to whom he bears a slight and eerie resemblance. So it wasn’t too surprising to learn of his love for hard rock and heavy metal music.

What was surprising was his uncanny ability to bring those genres and others into the classical realm (or is it the other way around?). By translating metal, rock, blues and R&B to violin, Garrett seamlessly brings classical music to non-classical ears and Metallica to classical aficionados, bridging and melding the two communities into one and thus devising a musical language devoid of genre and categorization.

By doing so, Garrett establishes his own unique voice and individual place among a small cadre of violinists and other orchestral-minded musicians, whom themselves have forayed into popular, contemporary formats like indie rock and hip-hop; folks such as Owen Pallett, Julie Penner, Petra Haden, Lisa Germano, Emily Wells, Andrew Bird and Sufjan Stevens.

Reminiscing over his first rock album purchase (Queen’s A Night at the Opera), Garrett then launched into a slow boil of “Who Wants to Live Forever.” He continued to up the ante with unlikely covers of AC/DC’s “Thunderstruck,” Metallica’s “Nothing Else Matters,” Led Zeppelin’s “Kashmir” and a particular crowd favorite, Michael Jackson’s “Smooth Criminal,” all of which sounded wholly original without diminishing the spirit and integrity of the songs and the artists who originated them.

It would be too easy to expect the violin to sound shrill, if not shrieking, on many of these head bangers, and maybe this seems all the more so because it’s all violin–Garrett doesn’t sing a word–but it’s his virtuosity and deftness which create these beautifully pure and commanding tones in a new context. If the violin is said to be the instrument that most closely resembles the human voice, in Garrett’s hands it’s so close to the electric guitar it’s almost freakish. Dumbfounded and shaking my head in disbelief throughout the night, I’d never thought in a million years a violin could ever sound like this.

Garrett’s not merely a metal head, though. He explained his love of all music genres and how they have informed his prodigious classical upbringing. His set verged into blues with Bill Wither’s “Ain’t No Sunshine,” psychedelic rock via Jimi Hendrix’s “Little Wing,” “Dueling Banjos” bluegrass from the Deliverance soundtrack and the American musical songbook á la Leonard Bernstein’s “Somewhere” from West Side Story. The real showstopper, however, was Chopin’s “Souvenir de Paganini,” a variation on Paganini’s “The Carnival of Venice.” It begins rather benignly but quickly turns complicated, each measure more technically demanding than the last, and it’s not a lengthy composition to begin with. Garrett pulls it off, making it look easy, but it’s clearly not, and he freely admits it. The piece is as breathtaking as Garrett’s candor.

Sprinkled about were arrangements of his own, including a wicked version of Rimsky-Korsakov’s “Flight of the Bumblebee” (for which Garrett is listed in the Guinness Book of World Records, having performed it in 66 seconds), as well as compositions he penned himself, such as the bittersweet melancholia of “Chelsea Girl.” This “Chelsea Girl” has nothing to do with Nico or Andy Warhol, however; it’s a somber ode to an ex-girlfriend, prompting Garrett to jokingly ask his band mates, “And why are we still playing this?”

Garrett is not only a very gifted performer, but a genuine and heartfelt storyteller too, prefacing each song with some history, a few anecdotes and his easy-going sense of humor. Considering his life’s trajectory, it’s a testament to his upbringing and the people with whom he’s chosen to surround himself that gives him such an extraordinarily down-to-earth, levelheaded, amicable presence. It’s something audiences love him all the more for.

Looking out into the audience, many faces beamed as if the spotlights were in reverse, and maybe they were. David Garrett was on stage, shining, a star already having been discovered in other skies, now appearing to American audiences gazing heavenward. We only need keep our telescopes poised to capture his ever-brightening future.

David Garrett performed at the Balboa Theatre in downtown San Diego on February 28th. His U.S. debut is the self-titled album David Garrett. Last spring, Garrett received wide exposure to American audiences during a national fund drive for PBS. His albums are available on Amazon.com, Amazon.de and on iTunes. He has also released two live concert DVDs.


Posted by:Webmaster
Posting date:25.03.2010 - 11:13:52
Article date:25.02.2010
Source:click here
Subject:Violinist goes from AC/DC to Vivaldi - David Garrett blends classical music with rock
Content:

David Garrett recently was called a "classical hottie" by People magazine. Garrett laughed at first when this was pointed out during a recent interview with Best Bets. But then again, this former model doesn't mind being known for his looks as well as his virtuosic violin playing.

"I think it's a compliment, and if you get a compliment, you should accept it and be proud of it," said Garrett, who was in a car on his way to Connecticut for a show. "I'm happy for it, because classical music is seen as a little stuffy to some people."

Stuffy is one word that doesn't describe Garrett, who not only brings a dynamic and theatrical stage presence to his music, but also adds covers of pop, soul and even heavy metal tunes into his repertoire. Garrett plays a show Feb. 27 at Silver Legacy Resort Casino.

Garrett said this leg of his American tour will be "more intimate" than his recent PBS special "Live in Berlin," which had a full orchestra in tow.

"This time, I'm with a band," he said. "It's the usual setup: guitar, bass, drums, lead violin (laughs). It's just a contemporary way to have the music, very good sounding and a lot of fun."

Garrett said he does some talking to the crowd during the shows, especially when it comes to the classical pieces.

"I explain them a little bit, especially the pieces that they may not be as familiar with," he said. "I feel strongly about going out there and entertaining people and being interesting, but also having it be a little educational in a way.

"I think that the most important thing is to go up and break down the wall of prejudice against classical artists, and to do that by just being yourself and enjoying the music and make the audience comfortable."

This inclusive style has translated to good sales of his self-titled debut album, released last year. It features compositions by Vivaldi and Bach, but also covers of Bill Withers' '70s soul classic "Ain't No Sunshine" and Michael Jackson's "Smooth Criminal."

Garrett said there are "thousands of things I look for" when choosing a pop song to do in his style.

"First of all, it has to have a very strong melody or a very prominent guitar riff," he said. "Not every song works as well. Of course, it has to be something that I would like listening to anyway. I would never play music where I'm just doing it because it's going to get played somewhere."

Several of Garrett's picks are surprises, the biggest one being "Thunderstruck," the middle-period hit by heavy metal vets AC/DC. Garrett said he's a fan of harder rock, even from a compositional point of view.

He cited Metallica -- whose "Nothing Else Matters" he also recorded for his debut -- as an example of a band ripe for covering in his style.

"Funnily enough, the really great rock bands write so strongly," he said. "Their chord progressions are great. It seems like it would be easier to do (a Metallica song), but if you listen to their albums, the arrangements are really symphonic.

Metallica songs have interesting rhythmic structures, he said.

"That music is already so well written and so original, it's a big inspiration as far as my own writing is concerned," he said.

Garrett adds pop-rock touches to "Summer" by Vivaldi and "Air" from Bach on his debut as well.

"It has to be something that you can put a rhythm to," Garrett said of his choices of classical pieces. "It has to have a kind of dance to it, an inner rhythm. That's very important."

There's also an original tune on the album called "Chelsea Girl," and songwriting is something Garrett said he's continuing.

"It's exciting to me, and I want to do at least one every time a CD comes out," he said. "I definitely want to pursue it more."

This mix of styles wasn't always a part of Garrett's musical life. According to his biography, he was booked as a violin soloist from age 8. Born in Germany, he had a classical recording contract by the time he was 13.

Garrett said even though he grew up surrounded by classical music, he wanted to be a fan of many styles.

"I was always interested in rock and R&B and whatever was out there," he said. "Just good music."

Garrett made the break from the classical world with a dramatic flourish -- he moved to New York without telling his parents and ended up studying at the Julliard School.

He also began doing modeling on catwalks and in magazines to help pay the bills. At the same time, he was absorbing more pop and rock music in one of America's most vibrant music scenes.

"Going to college in New York and having friends that weren't into classical music was a good deal, because it taught me a lot," he said. "I listened to their records and then I could teach them about classical music, share that part of myself, and so we bonded over the differences in our musical taste."


Posted by:Webmaster
Posting date:26.02.2010 - 20:34:51
Submitted by:Maya, Minnie
Article date:24.02.2010
Source:· click here
· click here
Subject:David Garrett - Concert Reviews Seattle
Content:

Last night at The Moore Theatre, I was privileged to see the handsome and talented violin virtuoso David Garrett perform the last of his two Seattle shows. This German American musician is just a couple years shy of age thirty and already has a list of accomplishments. A child prodigy, Garrett learned to play the violin at age four, recorded two CDs at age thirteen, played in multiple prestigious orchestras, and was named by Guinness World Records as the world’s fastest violin player. Add in the fact that he is a former Armani model, and it is understood why he is called the “David Beckham of the classical scene.”

Simply dressed in jeans and a casual jacket, Garrett made an attention-grabbing entrance by sauntering down the aisle of The Moore while playing his violin. He then unleashed a variety of songs including classic Bach and Vivaldi, bluesy numbers, rock tributes, and even the Pirates of the Caribbean theme, proving that the violin doesn’t just make music your grandmother would love. Granted, The Moore was packed with mostly older folks and families with children whining to go home at intermission. However, Garrett’s covering of popular songs by artists such as Queen and AC/DC are in accordance with his goal to give young listeners something contemporary mixed with classical music in an effort to find a new audience for the classical genre.

Throughout the show, Garrett was full of smiles and humor, often telling stories to introduce the next song he was about to play. He told of his struggles to find an “affordable” apartment in New York City when he studied at Juilliard before playing the song “Summertime,” and humorously detailed an incident in which a woman held an umbrella over him as he played outdoors, not to save his violin, but just so she could hear him play the song “Air” in its entirety. By far my favorite songs were his last two before intermission: the bluesy “Summertime” and Michael Jackson’s “Smooth Criminal,” both of which definitely have a modern ring to them, convincing me that Garrett is indeed making steps in the right direction to win over a new generation of listeners.

Please enjoy some clips from the show, including “Smooth Criminal” and Metallica’s “Nothing Else Matters.”


Jared & I went to see David Garrett in concert last night at the beautiful Moore theater (oldest operating theater in Seattle). It was, decidedly, the best concert that I've been to in years. Yes, that's right. Even better than Billy Joel. Shocking.

Reason #1 - I love David Garrett's story. You can read it here. His life reads like a movie script. Raised as a child prodigy on the violin, he was utterly submerged in classical music until his teenage years. “I’d listened to nothing but classical music until the age of fourteen,” says the now 27-year-old David, who was home-schooled until that age. “So when I started going to regular school, and started to be exposed to all this pop and rock, it was a revelation.”

Reason #2 - He can PLAY the violin. I love the sound of a well-played violin. The crisp notes, the vibrato, the slurs and broad range of sounds. But when David Garrett plays, you almost forget that you're listening to a violin and you begin to experience the music.

Reason #3 - Watching Jared's face light up as he watched David Garrett play was priceless. Watching his jaw drop when he performed a particularly incredible riff was awesome. Sharing this moment with my son was a memory I will always cherish.

Reason #4 - His reportoire was wonderfully varied. He played some classical - Bach & Paganini (my favorite piece!). And he played some contemporary "soft" music by Gershwin, Bill Withers and of his own composition. But the most fun came when he rocked out on his violin to Queen, ACDC, Led Zepplin, Jimi Hendrix and Michael Jackson. Here are a couple short videos that I filmed, so you can see his diversity and intensity. This wasn't your average violin recital. :-)


Posted by:Webmaster
Posting date:26.02.2010 - 20:24:44
Submitted by:Minnie
Article date:20.02.2010
Source:click here
Subject:Violinist David Garrett: Review at the Bushnell in Hartford, CT, February 19th, 2010
Content:

David Garrett -Crossover Violinist Virtuoso and Rock Star Gets Two Standing Ovations from Hartford!

World renowned Violinist David Garrett , (David Bongart) was born in Aachen, Germany to an American mother and German father. David's father was an antique dealer of stringed instruments, and when David Garrett was four years old; his father gave his older brother a violin. David was so enchanted with the instrument, he began to play it and a year later, he participated in a competition locally, and won it.

Since then, David has been performing publicly. By aged 10, he was playing Mozart with an orchestra, and by the age of 14, David Garrett had already released two albums. Around the same time, David was introduced to Rock Music and he began to build his own unique style, blending classical music with traditional rock.

David matriculated at Julliard in New York in 2004 and was a student of Itzhak Perlman. In 2008, he toured the United States with the Israel Philharmonic Orchestra, and in the last two years, he has been a popular addition to the Public Television Network, performing throughout the United States with various orchestras and his band while also performing at other locales throughout the world.

On February 19th, David came to Hartford, CT's Mortensen Theater, The Bushnell Center for the performing arts and enchanted the audience of all ages. At first, I was a little miffed when I realized that there was no Orchestra pit, and that on the stage, there was a drum kit, a keyboard, some amps and a few microphones.

When CPTV had aired their telethons for fund driving, they had aired a piece showing David Garrett performing with an Orchestra and I thought that was what I had purchased too. Having bought tickets for my 92 year old grandmother as a Christmas Present, I was afraid I was going to be disappointed with the show, and that the music might not be up her alley, but we were more than pleasantly surprised.

From the CPTV program at the show, 'The BBC Music Magazine calls David Garrett "...already the stuff of legend-in him is enshrined an entire corpus of virtuoso violin art, expounded with a fearsome beauty beyond comprehension."


Posted by:Webmaster
Posting date:17.02.2010 - 11:39:22
Submitted by:Maya
Article date:17.02.2010
Source:click here
Subject:David Garrett brings rock and classical giants together
Content:

Violinist David Garrett’s first American release begins with the last frantic movement of Vivaldi’s “Four Seasons.”

Next up? Metallica’s “Nothing Else Matters.”

“I’m a huge fan of Metallica,” Garrett said by phone from his New York home. “They’re incredibly talented players, and the pieces they write are very symphonic.”

With his long, blond hair, tattoos and male model looks, Garrett - who plays a sold-out Berklee Performance Center on Saturday - only looks like a rock star. But long before he started covering rock tunes and performing with an electric band, the now-28-year-old son of an American mother and German father made his mark as a classical prodigy.

He started playing violin at age 4 and had a recording contract with Deutsche Grammophon at 14. At 18, he moved to New York to study at Juilliard.

“My main work was learning classical concertos, chamber music, conducting and composition,” Garrett said. “But during those four years, I did come in contact with people who were my age and were very interested in rock ’n’ roll.”

Most of the concerts Garrett plays are what he calls “core classical.” But last year he sat at the top of Billboard’s Classical Crossover chart for nine straight weeks with a record where songs by Queen and AC/DC showed up alongside pieces by Bach and Bizet.

Is Garrett using rock music as a Trojan horse to win over young fans?

“Basically the concept is to give them something contemporary, which they know, and mix it with classical music,” he said. “And next time, they’ll come for a classical tour. That is the main point in the whole idea.

“In the end,” he said, “it’s up to you to make your goal with what you do. You can do everything, as long as you have the quality and you have standards. Of course, music is a matter of taste, and everybody has a different perspective, which is very good. I don’t necessarily see the dangers as long as you stay true as to where you’re coming from, which for me is classical music.”

On his recent, self-titled CD, he does achieve continuity in the sound, despite the disparity of the sources.

“That was the first thing the record company had a problem with,” Garrett said. “They said, ‘There’s so many genres, how are we going to put this on one record?’ I was the only one saying it all kind of makes sense. It’s an instrumental record. Don’t make me do a record where everything is the same. It was always important to me that every track on the record had to be different, in order to get continuity.”

No doubt Garrett’s striking looks and flamboyant style are part of that equation. He’s been called the David Beckham of the classical world.

“I was trying to shake that off for six years,” Garrett said, “but apparently not successfully. I would explain it this way. David Beckham definitely got a new audience for football. And my challenge is to get a new audience for classical.”


Posted by:Webmaster
Posting date:26.02.2010 - 20:28:12
Submitted by:Siobhan
Article date:08.12.2009
Source:click here
Subject:David Garrett and Straight No Chaser Coming to the Bushnell in Hartford, CT - 2010
Content:

Violinist David Garrett Plays Michael Jackson's 'Billy Jean', Straight No Chaser Performs "the Lion Sleeps Tonight" Straight No Chaser is exactly how you want to watch this group, watch and remember

The other show featured tonight was the A Capella men's group that sang barber shop quartet style with no accompaniments was the Straight No Chasers. I didn't watch the whole show as I had to stop and order tickets.

I had never seen them before. They were awesome. The gentlemen performed old and new songs. One of my favorites was their version of "in the jungle".

If you enjoy harmonies and hearing people use their voices like musical instruments, this show is one you will want to go and see for yourself.

How to Order tickets to David Garrett and/or The Straight No Chasers shows:
Call CPTV at (800)-683-2112 for the David Garret Show at the Bushnell, Hartford, CT, Feb. 19th @ 7:30 or the Straight No Chaser Acapella Group on April 15th.

Tis the season for giving. Supporting local public television and sharing great musical memories is a great holiday gift idea for Christmas, Hanukah, Kwanza, a Birthday, Valentine's Day or just as a wonderful evening out.

Tickets range from $80 to $250 a pair, depending upon show and seat location.


Posted by:Webmaster
Posting date:13.10.2009 - 13:27:57
Article date:12.10.2009
Source:· click here
· click here
Subject:BMG Rights Management Signs David Garrett
Content:

BMG Rights Management has signed a publishing contract with violin star David Garrett.

As part of the deal, the company will represent the publishing rights of his previous releases "Virtuoso" and "Encore" - they have combined sales of 400,000 in Germany, Switzerland and Austria according to the DEAG label, and were distributed by Warner Music Germany - as well as his self-titled U.S. album released by Universal earlier this year.

"We will publish Garrett's coming albums worldwide and we will represent the artist for synch licensing," said Hartwig Masuch, CEO BMG Rights Management in Berlin.

Accompanying this agreement, the company has signed a publishing deal with John Haywood, Garrett's co-writing partner. "We are excited to now have BMG Rights as our publishing partner, as we wanted to work with a company that is hungry, entrepreneurial and is at such an exciting stage of its development. As David emerges as one of the world's leading music entertainers, it was important for us to work with a publisher whose roots are so firmly based in the international entertainment business," Rick Blaskey, manager of David Garrett, said in a statement.

He added: "Now, together, we have such exciting opportunities to create and exploit our music across so many other possible areas beyond just the record business."

Fred Casimir, managing director Germany of BMG Rights Management, said in a statement: "David is an exceptionally talented musician. We are extremely privileged to work with him to enhance his career, which has just started. David is one of the rare musicians who are capable of merging the world of classical music with pop and rock in a truly unique and entertaining manner."

David Garrett is currently touring the United States. He is scheduled to continue his tour in Germany early next year, announced BMG Rights Management.


Posted by:Webmaster
Posting date:13.10.2009 - 13:30:47
Article date:12.10.2009
Source:click here
Subject:[Concert Preview] David Garrett Plays Second Show at Seattle Theatre Group, 2/22
Content:

Due to overwhelming popular demand, David Garrett will be playing a second show at the Seattle Theatre Group (STG)on Monday, February 22, 2009 at 7:30pm at the Moore Theatre..

By the time he was thirteen years old, when most of his peers were whiling away their afternoons on their new PlayStations, the virtuoso violinist David Garrett had a classical music career that would make most artists of any age pea-green with envy. Born in the German city of Aachen to an American ballerina mother and a German father who was a lawyer, David was a true child prodigy. At age eight, he was being booked to play as a soloist in front of some of the world's greatest orchestras, including the London Philharmonic, the Los Angeles Philharmonic, and the Russian National Orchestra. When he was twelve, he was performing alongside legend Yehudi Menuhin. When he turned thirteen, he was signed to one of the most famous and prestigious classical music labels in the world, Deutsche Grammophon, as a solo artist.

With the demands of his fast-burgeoning career and an ultra-intense focus on classical music, David had barely heard any rock or pop music until he was a teenager. "I'd listened to nothing but classical music until the age of fourteen," says the now 27-year-old David, who was home-schooled until that age. "So when I started going to regular school, and started to be exposed to all this pop and rock, it was a revelation."

As a result, David has carved out a unique and wholly new artistic path, one that pays as much homage to Metallica as to Mozart. His daring journey from classical wunderkind to mature and highly adventurous artist has been fulfilling not just for him personally, but clearly resonates with an enormous worldwide audience. David Garrett is already a huge star in Europe, as well as the Far East. He plays nightly to thousands of adoring fans, particularly in Germany where he has already completed a sold-out arena tour, conquered the charts and garnered two gold discs for both of his records released there. On the famous Last Night of Proms in the UK, he played to a crowd of 40,000 people, and also appeared at the legendary Royal Albert Hall in an impressive six concerts in seven days. His sole album released in the UK became a Top 20 chart fixture.

Now, he's set to conquer a whole new terrain with his first American release, simply entitled, David Garrett. His international career is multi-faceted. With arresting good looks and charisma, David landed a deal as a global brand ambassador for Banana Republic in 2009, and has additional endorsements overseas with brands including Audi and Montblanc. Dubbed, "the fastest violinist in the world," by German paper Kolner Stadt-Anzeigere, the incredible violinist will be in the 2010 Guinness Book of World Records, as the fastest-ever performer of the Flight of the Bumblebee, clocking in at a blistering 66 seconds.

Other influences on David include Queen ("the first non-classical album I ever bought was A Night at the Opera," the violinist recalls). The band's ballad "Who Wants to Live Forever" makes its way onto David Garrett, as does AC/DC's "Thunderstruck." The violinist draws on a fantastic array of other stylistic inspirations. "He's a Pirate" was taken from the score for the smash film franchise "Pirates of the Caribbean." David says, "I've always loved film music, and this score just delivered the right amount of power and seriousness to counterpoint the rather funny story." Bill Withers' "Ain't No Sunshine" makes an appearance as well; it's been a longtime favorite which David always used first as a backstage warm-up before performances, and then as a staple in his dynamic live shows.

Tickets: $33.00, not including applicable fees. Tickets are on sale Saturday, October 17th at 10am at Tickets.com, in person at the Paramount Theatre box offices, 24-hour kiosks located outside The Paramount & Moore Theatres, charge by phone at 877-STG-4TIX, or online at STGPresents.org.


Posted by:Webmaster
Posting date:13.10.2009 - 13:18:20
Submitted by:Andrea, Maya
Article date:09.10.2009
Source:· click here
· click here
Subject:[Concert Review] David Garrett—when classical violin goes crossover
Content:

The Broward Center’s Amaturo Theater in Fort Lauderdale was sold out. A couple of women in their 20s whispered excitedly to each other. A pre-teen boy leaned forward in his seat and bounced in rhythm to the music. People whooped and cheered at the end of difficult solos. Could this really be the audience for a classical violinist?

Sort of. David Garrett, a crossover star making his first U.S. tour, has impressive classical credentials: A contract with Deutsche Grammophon at the age of 13, studies at Juilliard with Itzhak Perlman, solo appearances with major orchestras.

But rather than try for the standard concert violinist career of recitals and concertos, he has taken the road of a very profitable alternative: Appearing on stage in a black fedora and boots with an amplified violin, backed up by a rock band, to play a mix of songs by Queen, Metallica and AC/DC, sprinkled with a few pop arrangements of classical works. It doesn’t hurt that the blond, pony-tailed violinist has, according to his web site, “arresting good looks.”

But unlike crossover king Andrea Bocelli, a tenor who has been skewered by classical critics for his weak vocal technique and utter dependence on electronic amplification, Garrett possesses a level of instrumental skill that demands respect. As he showed Thursday in Fort Lauderdale, he can play at hair-raising speed, with rock-solid intonation, demonstrating his skill in difficult works such as Paganini’s Carnival of Venice, the last movement of Summer from Vivaldi’s Four Seasons, and Brahms’ Hungarian Dance No. 5.

In his performance of Grigoras Dinicu’s old violin showpiece Hora Staccato, however, he skipped the difficult staccato bowing that gave the piece its name. And he was less effective in melodic works such as Bach’s Air from the Suite in D and Gershwin’s Summertime, where his emphatic style was about as delicate and refined as someone jabbing their finger in your chest.

He was at his best in pulsing, high-energy arrangements of Queen’s Who Wants to Live Forever, the theme from Pirates of the Caribbean, AC/DC’s Thunderstruck and other rock and pop songs that integrated the violin with the thumping bass, drums and other instruments of his electronic band. Toward the end he performed a couple of his own works, a soulful ballad and a pounding, rock-style tribute to Baroque music, drawing a long standard ovation.

It’s easy for classical critics to sneer at crossover musicians like Garrett. But the level of excitement in the theater exceeded that for all but a few classical concerts.


Posted by:Webmaster
Posting date:22.09.2009 - 09:34:57
Submitted by:Maya
Article date:21.09.2009
Source:click here
Subject:[Concert preview] Violinist David Garrett Comes To Sheldon Concert Hall
Content:

The Sheldon and KETC / Channel 9 present violinist David Garrett, Wednesday, October 21, 2009 at 8 p.m. in the perfect acoustics of the Sheldon Concert Hall. Often called the "David Beckham of Violin," Garrett's amazing skill and thrilling live performances have made him a world-wide star, leading to international ad campaigns for Banana Republic, Montblanc and more.

A native of Germany, Garrett was exposed to nothing but classical music until he was 14. He discovered a new world of music - everything from Michael Jackson to Metallica - when he moved to New York to attend the Juilliard School and study with Itzhak Perlman. His repertoire, while still heavily classical with works including Vivaldi's Four Seasons, Bach's Air, and Mozart's violin concertos, reflects the rock, R&B and pop influences of his favorite non-classical music.

Don't miss David Garrett, Wednesday, October 21, 2009 at 8 p.m. at the Sheldon Concert Hall. Tickets are $35 orchestra / $30 balcony and are available through MetroTix at 314.534.1111 or at www.TheSheldon.org. For more information, call The Sheldon at 314.533.9900 during normal business hours, Monday - Friday, 9 a.m. - 5 p.m.


Posted by:Webmaster
Posting date:22.09.2009 - 09:53:47
Submitted by:Violinista
Article date:18.09.2009
Source:click here
Subject:Born to perform
Content:

Even though he's not yet a household name in this part of the world, David Garrett probably turns heads no matter where he goes.

Dubbed "the David Beckham of the violin" for his stubbled good looks, the 28-year-old native of Aachen, Germany, has appeared on the pages of Vogue magazine and modeled for Armani. A violinist who throws classical interpretations of Metallica and AC/DC into his sets, Garrett is a known commodity in Europe and is now making a concerted push into the U.S. market.

His first North American tour got under way Wednesday in suburban Philadelphia and is stopping at the Byham Theater in downtown Pittsburgh Saturday. The tour comes on the heels of Garrett's self-titled American debut album and the PBS-TV special, "David Garrett: Live in Berlin."

"I'm very excited to see who's going to show up and see the audience reaction," Garrett said by phone from New York last week, after finishing the first day of rehearsals. "I'm a perfectionist. I just want everything to be as good as possible."

The son of a German lawyer and an American ballerina, Garrett was a child prodigy. By the time he reached his teens, he had been a featured soloist with world-class orchestras, played with revered violinist Yehudi Menuhin and had been signed to the classical music label Deutsche Grammophon.

However, Garrett eventually rebelled against the strict regimen that he had been pushed into. He ran away to New York, discovered pop and rock music and eventually enrolled in the Juilliard School.

Child prodigies often find that "many, many choices are done by other people," Garrett explained, "and you're mad about that because obviously you're a kid and you really don't know what's happening and at some point you want to make it your own thing."

Garrett's way of making it his own thing is easily blending selections from classical, pop and rock worlds. "David Garrett" contains his takes on Vivaldi's "Summer" and Bach's "Air," along with Michael Jackson's "Smooth Criminal," Queen's "Who Wants to Live Forever?" and a violin-based version of "Dueling Banjos."

"You have to work with audiences," he said. "I think it's very, very important, almost a responsibility, for anybody who's young and in classical music to find their own way to get the music out there."

The concert will highlight old and new, but the violin Garrett will be playing is a Stradivarius that's close to 300 years old, "so please don't throw any hard objects," he joked. He's a little more cautious nowadays, after accidentally smashing a $1 million Guadagnini violin in December 2007 when he fell down a flight of slippery stairs after a concert in London.

"I'm extremely careful," he said. "I always take a lot of time. I'm always aware of where the steps are."


Posted by:Webmaster
Posting date:22.09.2009 - 09:32:23
Submitted by:Andrea
Article date:17.09.2009
Source:click here
Subject:German-American violin virtuoso takes America by storm
Content:

David Garrett puts plenty of Pop into his musicality

Classical music's future is looking better, and not just because a particularly handsome violinist is taking the crossover scene by storm. German-American virtuoso David Garrett, whose features are chiseled enough to model for Armani, also has dedicated his career to making classical music more popular.

"It is necessary for our generation," he says. "If you want to have an audience you have to go out and promote the music you love."

Garrett was a major child prodigy, once on track to be the sort of soloist typical of the industry: virtuosos who wow those in the concert hall with Tchaikovsky or Beethoven but don't do much to stem classical music's steady decline in popularity. Garrett played his first big concert at 8, was signed to the premier record label Deutsche Grammophon at 13 and played with major symphony orchestras. The son of a ballerina and lawyer was immersed in classical music.

That changed in seismic fashion at 14, when Garrett began to have run-ins with rock and pop. Each new band shook his foundations, and he knew that playing a "variety of music" would be his path. He enrolled at the Juilliard School and studied under Itzhak Perlman, but continued working on incorporating pop music and its energy into arrangements and even his own compositions.

"David is a terrific fiddle player," says Perlman. "He went one way, and I respect him for that. Everybody has his own way of doing things. He did it all by himself."

Garrett still performs concertos in Europe in major halls and orchestras, but his rising star as a rock/classical violinist, influenced by Metallica as well as Mozart, is taking off worldwide. Last year he trailed only Andre Rieu in Germany in sales. His new self-titled American release on Decca has charted high in many categories this summer, including topping classical crossover.

"I love both different worlds. They complete my personality," says the 27-year-old.

They come together in shows such as the one he will offer Saturday in Pittsburgh, with a small band and with repertoire ranging from Bach to Michael Jackson, from Vivaldi to AC/DC. The audience base is consistently younger for these concerts, and that is how he likes it.

"I am using the crossover to attract young people," says Garrett. "When I play for young kids, you realize the music is not the problem. If you get them to listen to it they love it, but what is the best way to break down that barrier?"

His answer, contrary to some crossover acts, has not been to add the slick production value of pop or Broadway. While an electric guitar, drums and strings back up Garrett in his concerts, he recoils at the very suggestion that his concerts are akin to the glitzy approach of crossover artists such as the all-woman string quartet Bond or Rieu.

"It is really about the music and people enjoying the tunes," says Garrett. If his arrangements simplify some of this complex music, he is not dumbing-down what he plays himself.

"I arrange a part that is highly technically demanding. You have to be a first-class violinist to pull it off."

That he is. The salient example is not his dubious title of being the world's fastest violinist, which he received with a speedy performance of Rimsky-Korsakov's "Flight of the Bumblebee." He set the Guinness Book of World Records mark by finishing it in 1 minute and 6.56 seconds, or 13 notes per second.

No, his chops show in the fact that even though he massively sped up "Flight," he still played it with perfect musicality.

And by setting the record on a BBC-TV show for young audiences, Garrett seamlessly wedded artistry and promotion together -- no doubt many a viewer was inspired to hear the work at the original tempo.

"You have to deliver quality, especially when you go in a different direction," he says. "You should be already an established classical musician if you move to crossover. If you go into a niche without being a good violinist, that is just for publicity."

Garrett reminds one of a violinist who was adept at crossover, long before the term ever danced on the lips of record executives: Fritz Kriesler.

"Kreisler was a huge idol of mine," says Garrett. "He popularized the violin by his arrangements. He managed to sustain a classical and crossover career while writing and arranging."

One bit of publicity Garrett could really leave behind was his unfortunate accident last year when he fell down some stairs and broke his priceless Stradivarius. The accident was reported around the world, but nothing compared to the horror Garrett felt.

"Not a pleasant thing to witness," he says. "It was a nasty-looking crack, but it sounds beautiful now."

Whether he is turning ears to classical music or turning heads, Garrett is shaking the classical music world up with his concerts.


Posted by:Webmaster
Posting date:17.09.2009 - 07:09:45
Submitted by:Elke
Article date:15.09.2009
Source:click here
Subject:[Concert review] Concert Wrap — David Garrett, Sept. 15
Content:

[Preview:]If there was ever a time that David Garrett did not know how to play the violin, he doesn’t remember it.

That’s primarily because Garrett, a German-born violin prodigy, has been playing since he was 4 years old.

Now 28, Garrett has established himself as one of the brightest stars in the classical music scene. He is often seen as one of the performers most likely to attract younger audiences to classical music, and for several reasons, as several European publications dubbing him “the David Beckham of the classical scene.”

While studying at the Juilliard School in New York City, Garrett modeled to pay the bills. He also has a penchant for pop songs, recording tunes by artists such as Metallica, AC/DC and Bill Withers for his North American debut, “David Garrett.”

But Garrett is not just a pretty face. He has performed in concert halls all throughout Europe and was named the world’s fastest violin player by Guinness World Records.

Garrett recently spoke with the Northwest Arkansas Times about his love for pop songs, writing songs of his own and his excitement for this tour. Read the story that resulted in the interview here.

Garrett has performed in the United States before but has never formally toured here. He launches his first jaunt through the states on Tuesday (Sept. 15) with a 7:30 p.m. concert at the Walton Arts Center, 495 W. Dickson St., in Fayetteville.

Tickets are $25-$50 and are available at the WAC box office, by calling 443-5600 or at the venue’s Web site.

We’ll see you at the show.

[Review:]

When Metallica offered “S&M,” a 1999 album featuring their heavy metal songs accompanied by the San Francisco Symphony, it worked. The album won a Grammy Award and has sold more than six million copies.

Could it work the other way around, taking classical music and backing it with a rock band? Also, can you play Metallica on a violin?

Well, classically trained violinist David Garrett, who performed Tuesday (Sept. 15) at the Walton Arts Center in Fayetteville, is attempting to find out.

He launched his first formal tour of the United States with his Northwest Arkansas performance, and the next few weeks will tell him and music fans a lot about what that future holds.

But if the 1,000 some patrons who showed up and gave Garrett and his backing band three standing ovations and periodically gave audible gasps during the performance are to be believed, it did more than just work.

In a set of about two hours, the German-born violinist carried the crowd in his hands, taking them for a ride between the classic sounds of Dvorak and Bach to compositions of his own to retellings of songs such as Bill Wither’s “Ain’t No Sunshine,” Led Zeppelin’s “Kashmir” and Metallica’s “Nothing Else Matters.”

That middle ground, somewhere between classical and classical rock, are the untested margins where Garrett seeks to thrive.

Regardless of which side of that middle he leaned toward, the crowd gave him rock star treatment. Garrett started the show offstage, his four piece band of rock origin — guitar, bass, keyboards and drums — playing in his stead. As the sounds of his violin, a Stradivarius, starting filling the venue, Garrett was nowhere to be found. He made his appearance through a side door at the center, and the audience released its first roar of the evening, subsequently releasing the first indication that something special was happening.

From there, he spent the rest of the night darting between classics such as “Air” by Bach and “Csardas” by Vittorio Monti and new songs such as the theme to the “Pirates of the Caribbean” movie to the song he closed the first half of the evening with, “Smooth Criminal” by Michael Jackson, a song Garrett was playing even before the pop singer’s death earlier this year.

No singing was involved in the production, unless you count Garrett’s work on violin, which substituted for the vocal melody on many of the pop songs that were played. When he wasn’t trying to imitate the human voice, Garrett, whose training with violin masters and further at the Juilliard School in New York City is obvious, spent time dazzling with speed. Specifically, during a take on Nicolo Paganini’s “Carnival in Venice,” several members of the audience gasped, and loudly at that.

Or, at other times, they sympathized with him, such as when he told the story behind the composition of “Chelsea Girl,” about a woman who broke his heart — twice. His story complete, the audience said, in unison, “Ahhh,” with as much pity as could be mustered. Garrett, who modeled to help pay for his schooling while at Juilliard, certainly had no shortage of women who would have been willing to change his relationship status, if he in fact is still single.

It was clear that Garrett was enjoying himself immensely. But even his mannerisms straddled the lines between classical and contemporary. He came out in a dark suit inexplicable matched with ugly brown combat boots. He had a rock band behind him, but his stage presence, with bows after each song and dozens of “Thank yous” to the audience, was very poised. He also had at least one visible effects pedal for his violin, which was made in the 1700s. After performing with a rock band Tuesday night, he told the audience he was recording a core classical album next.

But on Tuesday night, the middle was just fine for David Garrett.

Setlist: 1) Carmen Fantaisie (Bizet); 2) Who Wants To Live Forever (Queen); 3) He’s a Pirate (“Pirates of the Caribbean” theme); 4) Air (Bach); 5) Csardas (Monti) 6) Nothing Else Matters (Metallica); 7) Summertime (Gershwin) 8) Hungarian Dance No. 5 (Brahms); 9) did not catch this title; 10) Rock Prelude (Garrett); 11) Smooth Criminal (Michael Jackson);

-intermission-

12) the final movement of The Four Seasons (Vivaldi); 13) Ain’t No Sunshine (Withers); 14) Dueling Banjos (from the film “Deliverance”); 15) Chelsea Girl (Garrett); 16) did not catch this title; 17) did not catch this title; 18) Little Wing (Jimi Hendrix); 19) Carnival in Venice (Paganini); 20) a suite from Humoresque (Dvorak); 21) Kashmir (Led Zeppelin) 22) Zorba Dance (from the film “Zorba the Greek”); 23) Thunderstruck (AC/DC); 24) Flight of the Bumblebee (Rimsky-Korsakov) with riff from Nirvana as accompaniment; 25) Somewhere (Bernstein)


Posted by:Webmaster
Posting date:17.09.2009 - 07:16:19
Submitted by:Tabitha
Article date:13.09.2009
Source:click here
Subject:David Garrett is not your fathers violinist.
Content:

Oh, the classically trained musician can play Vivaldi or Bach with the best of them, thanks to training that includes instruction from the legendary Itzhak Perlman.

What sets Garrett apart is the way he has reimagined popular music -- like Michael Jackson's "Smooth Criminal," which he melds with a little Mozart -- as virtuostic violin pieces.

"First, I have to love the song," the German-born Garrett said by way of explaining his musical choices. "Then, is it a song which actually does work on the instrument? It has to be high energy, with a virtuosic piece to it."

This marriage of classical and contemporary has helped to place Garrett, at age 27, among the hottest violinists in the world. His Friday night performance at Whitaker Center in Harrisburg, for example, already has sold out.

His self-titled debut album, released in March on the Decca label, includes "Smooth Criminal" plus AC/DC's "Thunderstruck," the Queen ballad "Who Wants to Live Forever" and a captivating version of Bill Withers' heart-wrenching "Ain't No Sunshine."

The album, which also features challenging classical pieces such as Vivaldi's "Summer," from "The Four Seasons," and Bach's "Air," is the No. 1 classical album on iTunes and the top recording on Billboard's Classical Crossover and Classical charts.

Garrett's path to stardom took a detour in his teen years. That's when the former prodigy, who had been a professional soloist at age 8 and a recording artist by 13, realized he was burned out.

So he rebelled, at least a little. And like many a teen rebel, he discovered rock 'n' roll.

"I'd listened to nothing but classical music until the age of 14," said Garrett, the son of an American ballerina and a German lawyer. "So when I started going to regular school, and started to be exposed to all this rock and pop, I was amazed."

He cast aside -- at least temporarily -- a burgeoning career as a classical soloist in order to explore this new-found passion, traveling across the Atlantic to New York City, where he still lives.

By the time he re-emerged, he had fused his expanded musical interests and blistering hand speed (he will be in the 2010 Guinness World Records for the fastest-ever rendition of "Flight of the Bumblebee," at 66 seconds) into a unique voice.

He still performs the standard classical repertoire with the world's top orchestras, playing a 200-year-old Stradivarius, but he's also committed to touring with his own eclectic blend of music.

"Personally, I think it's a great opportunity," he said. "I feel a responsibility to address younger audiences, and what better way than to use music to get their attention, and maybe bring their attention to classical music as well. If I give them a little bit of AC/DC, perhaps they will listen to a little Mozart as well."


Posted by:Webmaster
Posting date:22.09.2009 - 09:57:43
Submitted by:Flanni
Article date:13.09.2009
Source:click here
Subject:Stew of Strings
Content:

For a long time, David Garrett was simply having fun. Never mind that by age 5, the German-born violinist had already taken first place in a music competition, or that by 8, he was performing as a soloist with some of the world’s most renowned orchestras.

And, yes, at 13, he released his first CD on Deutsche Grammophon, a prestigious classical music label.

But even with a busy performance schedule that saw him sharing stages with the likes of violin virtuoso and distinguished conductor Yehudi Menuhin, he wasn’t that eager to become a professional violinist.

“I never really thought about (a career) until I moved to the states,” says Garrett, who fled Germany for New York as a teen, chafing at the classical constraints of his instrument and the expectations already set for him. “A lot of other people around me thought about it much earlier than I did. At the right time, I kind of made my own decision.”

And when he did, eventually returning to Germany and embarking on a career that would weave classical standards with his favorite pop and rock songs, audiences went wild.

In Europe and the Far East, the 28-year-old Garrett already is a sensation, having released several chart-topping albums and regularly playing to crowds of thousands.

Now, with his self-titled U.S. debut released on Decca in June, he is ready to conquer these shores.

“This is pretty much the most important thing I’ve done, being here in the U.S.,” says Garrett. “If I get America, I’m good for any market.”

He shouldn’t have to worry. Before the release of his album, a PBS special, “Live in Berlin,” filmed during an arena tour of Germany earlier this year, helped him sell out a headlining show at City Winery in Manhattan’s SoHo neighborhood. The special, which made its public television debut in New York in April, aired nationally in May.

Those who aren’t familiar with Garrett’s music may recognize him from Banana Republic’s City Stories campaign, which earlier this year featured nine musicians, including Sara Bareilles and Liz Phair, sporting the store’s spring and summer apparel. Having begun modeling while a student at The Juilliard School, where the work was among the odd jobs he picked up to make some cash, he also has appeared in the pages of Vogue and on catwalks for Armani — gigs that, in some circles, have branded him “the David Beckham of the classical scene.”

“In the end, if the looks help to promote good music, I’m all about it,” says Garrett, who brings his fall tour to the area this week with stops Wednesday at the Keswick Theatre in Glenside and Thursday at the Patriots Theater at the War Memorial in Trenton. “We all live in a commercial environment and it’s always been like that. Even (opera singer) Maria Callas tried to be skinny. All the great musicians of the past, we all had our kind of gimmick. It’s nothing bad as long as the package is not better than product. The product is the essence.”

While he is somewhat nonchalant about his former wunderkind status, he does appreciate that his gifts were nurtured from an early age, once he began playing the violin that his father had actually bought for his older brother.

“I don’t know if it was me being jealous of my brother having something I didn’t have or if I really liked the instrument,” says Garrett, who was raised the son of an American ballerina and a German lawyer in the city of Aachen. “My parents were quite good at organizing teachers at an early age, but with an instrument that is as physical as the violin, you have to have a lot of natural ability. If you realize you’re good with something, realizing that in itself kind of makes you want to get better and better.”

Eventually, however, he became burned out by the rigors of his unintended career. When he escaped to New York, he didn’t know if he would pick up the violin again, even when he decided to audition for Juilliard.

“The first year during college, I didn’t play. It was really like a tryout,” says Garrett. “I wasn’t really sure I wanted to stick with music, to be quite honest. If so much pressure is put on you at such an early age without someone really asking if you really want to do this, at some point, you need to take a step back and really adjust a couple of things to make sure that’s really what you want to do. I wanted to make my own decisions … but in the end, I think there was a reason why I applied (to) Juilliard. I had that feeling that I would always end up with music.”

It was there, while under the tutelage of none other than renowned violinist Itzhak Perlman, that he began expanding his palette beyond the classical fare that he had been playing for years.

“I think coming here to study for four years really did change not only the way I play technically … but coming to New York, it’s such a wonderful breeding ground for artists in itself,” says Garrett. “You have an opportunity to listen to a lot of newcomer bands and a lot of good instrumentalists, and I was going to Juilliard not just with other musicians but with a lot of actors and dancers who come from different backgrounds, so there was so much great music to listen to. I definitely got a lot of inspiration and a lot motivation.”

His CD reflects those wide-ranging influences, with arrangements such as Metallica’s “Nothing Else Matters” and AD/DC’s “Thunderstruck” appearing alongside soul classics like Bill Withers’ “Ain’t No Sunshine” and film favorites like “He’s a Pirate” from “Pirates of the Caribbean.” He brings an explosive intensity to staples like the last movement of Vivaldi’s “Summer,” reimagining the piece as a rock epic, and a plaintive beauty to standards such as Bach’s “Air” and his own original, “Chelsea Girl.” But it is his dramatic, fever-pitched version of Michael Jackson’s “Smooth Criminal” that has been garnering the most attention, given the pop star’s recent death.

“Of course, you always kind of try to find pieces that work on the violin. Not everything I like listening to works on the instrument itself,” says Garrett, whose 66-second performance of “Flight of the Bumblebee” has earned him a slot in the 2010 Guinness Book of World Records. “ ‘Smooth Criminal’ — it has a great riff that you can use on the instrument, and the emotion in the bass works wonderfully.

“I always liked Michael Jackson because he was such a perfectionist, first of all with the albums themselves and how he recorded the arrangements in an almost classical way, and also as a performer. Everything really was spot on. That’s something I can relate to as an artist.”

He admits that his adventurous forays into other genres are partially intended to expand his audience.

“I think you do have the obligation, especially when you are young, to drum up interest in your generation in classical music. I still play more classical shows than crossover stuff,” he says. “Classical music is the main ground I’m standing on, but it’s fun to branch out and try other things.”


Posted by:Webmaster
Posting date:10.09.2009 - 21:29:13
Article date:09.09.2009
Source:click here
Subject:[Concert preview] A "Smooth Criminal" on the Violin
Content:

David Garrett: A "Smooth Criminal" on the Violin

When David Garrett plays the Byham on September 19, will it be a rock concert? Or will it be something worthy of the conservatory? The answer is both.

Poised somewhere between Paganini and Jimmy Page, David Garrett straddles the worlds of classical composition and fist-pumping arena rock. A classically trained violinist who rose to the status of virtuoso before he finished puberty, Garrett is the prototypical wunderkind. But while Mozart was content to explore only the highbrow, Garrett, on his albums and during his live shows, transitions seamlessly from Vivaldi to AC/DC. Oh, and he does a pretty sick rendition of Michael Jackson's "Smooth Criminal."

Garrett was born in Germany in 1981, making him a whopping 28 years old. His parents put his first violin in his hands at the age of 4; by the age of 10 he was playing with the Hamburg Philharmonic Orchestra. He attended Julliard 8 years later, where he was mentored by none other than Itzhak Perlman.**

Since then, Garrett has released 4 albums, each one bridging of pop and classical. His most recent album, the self-titled David Garrett, features Queen, Metallica, Bill Withers and Vittorio Monti. Like his live performances, Garrett's albums are a great introduction to the world of classical music for someone who has subsisted on a diet of pop tunes, or vice-versa.

David Garrett performs at 8 pm, Saturday, September 19, at the Byham Theater, as part of the Cohen & Grigsby Trust Present series. Tickets are going fast - order now.


Posted by:Webmaster
Posting date:10.09.2009 - 21:32:08
Article date:09.09.2009
Source:click here
Subject:[Concert preview] Garrett brings classical rock fusion to the Keswick
Content:

Stealing his brother’s violin when he was 4 years old marked the beginning of David Garrett’s career as a string sensation.

“He wasn’t too happpy practicing, so I think he was secretly glad when I would take it,” the musician said. “I had a really good time with it from the beginning.”

Now, after more than two decades as a musician, Garrett said it was the instrument’s sound that initially sparked his love affair with the arts.

“I just thought the music it created was so beautiful,” he said.

Now, after studying at the Lubeck Conservatoire in Germany, recording several CDs, playing with the Munich Philharmonic Orchestra, studying at the Royal College of Music in London and graduating from Juilliard, the musician who made his mark in Europe is hoping to make a splash in the states and the Keswick Theatre is on his list. The violinist is set to take the stage in Glenside Sept. 16.

“The whhole motivation of this tour is to get people involved in classical music,” he said. “It’s sort of like building a bridge.”

Through his fusion of traditional composers and modern day rock ballads, the German has changed the definition of classical music.

“When I was younger I listened mostly to classical music because that was what was around our house,” he said. “I didn’t get in touch with my inner rock-and-roller until a little later.”

Performing Bach and Beethoven just minutes after Michael Jackson and AC/DC, the crossover violinist has created something fresh, something many critics call his own genre.

Once the European landed in the Big Apple, he started taking some risks.

“I really just wanted to experiment,” he said. “When I got to Juilliard, I started going out with friends and listening to a whhole bunch of different music and the idea just kind of came to me.”

His “experiment” grew after he received rave reviews from his friends.

“I just wanted to get the drama kids into classical music and that did it,” he said. “It was a bit of a game for me and they really loved it; they started asking me to mix some of their favorite songs with the violin.”

Garrett’s friends weren’t the only ones who enjoyed his new sound. The violinist has played for tens of thousands of fans in Europe, many of them peers of the 27-year-old musician.

“I see a lot of teenagers and people in their 20s at the shows; it’s a wonderfully young crowd,” he said. “The different ages provide a nice mix.”

Garrett’s ability to turn a genre that is typically less than appealing to a large portion of younger listeners may enhance his popularity.

“I try to make sure there is something for everyone,” he said. “The shows are generally very upbeat and energetic.”

Deemed the David Beckman of the classical scene, Garrett’s boyish good looks don’t dissuade his young viewers either.

“I think it’s important to find something that people can relate to,” he said. “It’s exciting to try something new and get people’s attention.”

Just looking at the titles of some of the songs on Garrett’s recently-released self-titled album is sure to turn some heads.

A cover of Metallica’s “Nothing Else Matters” is number two, Bach is number 10 and in between are Michael Jackson’s “Smooth Criminal,” AC/DC’s “Thunderstruck” and Queen’s “Who Wants to Live Forever.”

“I really enjoy listening to all the bands [that I cover],” Garrett said. “I base most of this stuff on things that I really like and if it fits in with the violin, that makes it even better.”

Because he was a known musician before he reached puberty, Garrett said his diverse repertoire happened almost by accident.

“Because I listened to classical music up until I was a teenager, I never chose a genre to define myself in or side with,” he said. “I kind of missed the time when you’re starting out and define or typecast yourself. I have always just gone with what I like, a good tune or riff.”

Renowned in Europe, Garrett said he is simply looking forward to sharing his music with another part of the world.

“I can’t compare the United States to Europe yet. I still have to see the audience’s reaction,” he said. “It’s a really exciting time because I’m in new territory; we’re just going to have to see what happens.”

If You Go …
David Garrett will taking the stage at the Keswick Theatre, Easton Rd. & Keswick Ave., Glenside, PA 19038,
Wednesday, Sept. 16, 7:30 p.m.
Tickets: $32.50 - $42.50.
Info: 215-572-7650 or
http://www.keswicktheatre.com.


Posted by:Webmaster
Posting date:10.09.2009 - 21:44:42
Article date:09.09.2009
Source:click here
Subject:[Concert preview] String Theory: Is David Garrett the Next, Next Thing?
Content:

When the 20-year-old David Garrett told his parents that he was leaving his hometown in Germany, and them, to go to New York to study, they had no idea. Still, it was too late for them to do anything about it.

“That’s absolutely how it happened,” he says. “It was pretty much that I had decided that I wanted to go to the United States; it was just something that I had to do. So without saying too much about it, I decided to apply secretly (to the Juilliard School), to audition secretly, and a few days before I left, I let them know that I had been accepted and that I was going. It surprised them, sure, but it saved months of fighting and argument. I think it was the smart way to do it.”

So his mom and dad reluctantly let him go, but they told him he would have to make it on his own. But Garrett had a few things going for him. He was a child prodigy who had been playing violin since the age of four and had first appeared in concert with an orchestra at the age of eight.

While attending Juillard he lived in college dorms, did odd jobs, and even dabbled in modeling. Most importantly, he got down and dirty with the violin, listening to jazz and rock and studying with Itzhak Perlman.

Now David Garrett, the German-American violinist, could very well be the “next big thing,” at least in the rarefied air of the crossover classical artist. Crossover classical musicians are those performers, such as Josh Groban; Sarah Brightman; Andrea Bocelli; the late, great Luciano Pavarotti; and even jazz great Wynton Marsalis, who have taken classical music, or even pop music based on classical, and become so successful that they have turned into pop culture icons.

Garrett, now 28, who looks like Fabio version 2.0 and plays like a combination of Mark O’Connor, Jean-Luc Ponty, and Perlman, is well on his way to becoming another one of those crossover classical superstars. His first eponymous U.S. record, David Garrett, was released early this summer by Decca Records, and it has been moored on top of the Billboard Top Classical Crossover Albums chart since its release. Garrett begins his first ever U.S. tour at the Keswick Theater in Glenside, PA, on Wednesday, September 16, and appears on Thursday, September 17 at Patriot Theater at the War Memorial in Trenton.

He’s no stranger to the life in the spotlight, though. In addition to his success on stage and on disc, Garrett has parlayed his Euro-heartthrob looks into a legitimate modeling career. As a student in New York, he appeared in Vogue and did some runway work for Armani, and now he is a spokesman for Banana Republic. “It’s been a fun experience,” Garrett says. “It’s a totally different world from what I grew up with. It was a great way of making money, of course, as I had to pay for my whhole college tuition.”

Garrett is the star of a recent PBS special — recorded in Berlin and backed by a huge symphony orchestra — which demonstrated his flamboyant on-stage personality, his eclectic tastes in repertoire, and his virtuosic, rapid-fire playing.

Garrett says his parents “were not supportive at first, but they are now quite happpy that in the end I made something out of myself on my own.”

He was born David Bongartz in 1981 in the small German city of Aachen. His father is a lawyer from Germany, and his mother is a former ballerina originally from Washington, D.C. When he was four years old, Garrett began playing a violin his father had purchased for his older brother. When he was seven, his parents sent him for lessons at Germany’s Lubeck Conservatoire, and by 13 he had recorded two CDs and performed at Germany’s Presidential Palace for President Richard von Weiszacker.

Shortly after he arrived in New York, he became a student of Perlman, who is on the Juilliard faculty. “It was a fantastic experience, I have to say. It was a wonderful opportunity to work with one of the top violinists of all time, and I certainly can say that I learned a lot from him.”

His parents decided early on to make his mother’s maiden name his name as a performer, Garrett says in a cadence and accent that reflects both Germany and New York, where he lives now. “My parents kind of decided that it was more pronounceable than the German name, so I stuck with that.”

Garrett says he is comfortable here in the States to the point that he doesn’t really see himself as German or American. “Does it really matter where I’m from? I don’t think so any more these days.”

Although Garrett usually performs with a large orchestra, on this tour he will have just a small ensemble consisting of bass, drums, keyboard, and guitar. He has played with this type of ensemble before, but never in the U.S. “We want to get things started over here — we’re doing everything from scratch in terms of America,” he says. “Generally we’ve been doing well on the charts, so I think we’ve gotten off to a good start.”

Garrett’s new record contains music that ranges from classical (Bach and Vivaldi) to soul (“Ain’t No Sunshine,” by Bill Withers) to rock (AC/DC’s “Thunderstruck” and Queen’s “Who Wants to Live Forever”) to Hungarian csardas. One tune he included on the disc, and has been playing live in Europe since last year, is Michael Jackson’s “Smooth Criminal.” In late June, just as Garrett was unveiling his first American-released CD, Jackson died. “I think everyone was kind of shocked at the news. It was totally unexpected,” Garrett says. “It was sad that somebody with so much talent passed away way before his time. It was a big loss for everybody. In the end, it didn’t affect me very much as a performer, but it was just very sad.”

As a violinist who has been associated with classical music, Garrett admittedly knows it better than any other genre. But he loves the process of exploring other styles of music. “I love music. I love classical music, and I had been immersed in that for the first 15 to 20 years of my existence,” he says. “So if you do that, it is not hard for you to go into different directions of music without prejudice later on. That’s how I approach music. I enjoy a great tune, and a great rhythm, and a great melody. Is it classical or jazz or pop or rock? It really doesn’t matter to me. I don’t see a big difference. Music is either good or not. There are a lot of directions that have not been gone into, so a lot of what I do is an experiment. I really enjoy experimenting.”

The experiments have done fairly well for Garrett. Two of his records in Germany went gold, and his latest American release will soon be certified platinum. But Garrett does not really think or pressure himself about what is coming next. “I don’t think about the past or the future. I just concentrate on what I am doing now, and I try to live every moment as fully and completely as I can.”

David Garrett, Keswick Theater, 291 North Keswick Avenue. Wednesday, September 16, 7:30 p.m. The virtuoso German-born crossover classical violinist launches his first ever U.S. tour. $32.50 and $42.50. 215-572-7650 or http://www.keswicktheatre.com.

Also, Patriots Theater at the War Memorial, Memorial Drive, Trenton. Thursday, September 17, 7:30 p.m. $18.50 to $30. 609-984-8400 or http://www.thewarmemorial.com.


Posted by:Webmaster
Posting date:22.09.2009 - 09:22:34
Submitted by:Maya
Article date:12.08.2009
Source:click here
Subject:Crossover is key, says pop violinist David Garrett
Content:

David Garrett is considered one of the fastest violinists in the world. Add good looks and a crossover style and he's any agent's dream. Garrett told DW why he wants to interest young people in classical music.

Deutsche Welle: Your success is not just measured in the many concert appearances you make, but also in the fact that you can't walk around Germany's big cities without being recognized. How does this kind of popularity make you feel?

David Garrett: Of course, I meet a lot of people who just want to be around me because of my success. But I just have to know that they won't be there anymore if the success goes away.

While Nigel Kennedy made a name for himself as a punk violinist in the 1980s, you're considered more of a pop violinist who reaches people between 12 and 20 years old with classical music. Do you see that as your mission?

"Mission" sounds a little bit exaggerated. I just want to give the people in the concerts a good feeling. I think classical music has suffered a bit over the past few decades, since everything has taken place in a kind of ivory tower and the connection to daily life has been missing. That's why young people have to be reintroduced to classical music and given the opportunity to just relax in a concert.

Your father is German and your mother is American - in which culture do you feel more at home?

I don't think I feel more at home in one place or the other. Now I'm just as at home in Germany as in the US and I enjoy going back and forth. That's special and it's a treat that I get to do that for professional reasons.

You recorded your first CD at the age of 13. On the cover, you're pictured in a black suit - but you don't look particularly happy.

At that time, everything was decided by other people. But now I'm far enough along that I - and that's the great part - can say what I like and what I want and that makes the whole thing a lot more fun.

After shedding your child prodigy image, you turned to pop music. You've arranged Michael Jackson songs and written your own. Do you have any role models?

As far as classical music goes, there are violinists like Nathan Milstein, or conductor Arturo Toscanini and pianist Arthur Rubenstein. As for pop music, I like the big names, of course, like Pink Floyd and Jimmy Hendrix. And, as for newer stuff, I think Green Day is really good - but there are lots of role models.

In the last few months, you've been on tour practically non-stop and there's not a lot of time left over. But when you do have time to listen to music for fun, what do you listen to?

I really like listening to Rachmaninoff, but, unfortunately, he didn't write anything for violin. I'm a big fan of the late Romantic period, I like Tchaikovsky as well. It runs in my blood because it's such incredibly passionate music.

Where do you prefer to see your photo - on the cover of a pop magazine for teens or in a classical music magazine directed at the traditional concert audience?

I like to see my picture in both because I think that both are really important these days. And if you manage both, then you're on the right track.


Posted by:Webmaster
Posting date:22.09.2009 - 09:30:41
Submitted by:Maya
Article date:06.08.2009
Source:click here
Subject:David Garrett - Live in Berlin
Content:

WETA TV 26 presents many musical offerings this month — from Big Band favorites to top Motown acts, and from Rock-Blues icon Stevie Ray Vaughan to disco all-stars. Among the performers in the spotlight is young German violinist David Garrett, whose music spans multiple genres, weaving classical standards with rock and pop favorites — from Vivaldi to Queen to Michael Jackson — in a concert performance recorded in Germany. Accompanied by a symphony orchestra and full rock band, the virtuoso enthralls an audience in Berlin’s Tempodrom concert arena with his talent and repertoire. In addition to reinterpreting rock songs, Garrett also performs selections from Vivaldi’s The Four Seasons and Bizet’s Carmen in the concert special. The violinist opens his Berlin performance with the rousing “He’s a Pirate” from Pirates of the Caribbean, and he also displays his own writing skills with the tune, “Chelsea Girl.” Garrett appears in WETA’s television studio during the broadcast of his program. Born in Germany to an American ballerina mother and a German lawyer father, Garrett was a child prodigy. By the time he was eight years old, he was being booked to play as a soloist with some of the world’s greatest orchestras; he was signed to the classical music label Deutsche Grammophon at age 13. As a teenager, he took a hiatus from classical music and moved to New York to sample life as a “normal” adolescent, putting aside classical violin in favor of rock music. Eventually, his passion for the violin returned and he auditioned for the Juilliard music school. He was accepted and, to his surprise, taken on by violinist Itzhak Perlman. Now a rising star in the Far East and in Europe — known in soccer-loving Britain as “the David Beckham of the violin” — Garrett has astounded audiences wherever he has performed. Dubbed “the fastest violinist in the world” by a German newspaper, Garrett will be in the 2010 Guinness Book of World Records as the fastest-ever performer of the “Flight of the Bumblebee,” clocking in at a blistering 66 seconds.


Posted by:Webmaster
Posting date:17.09.2009 - 07:14:53
Submitted by:Tabitha
Article date:05.08.2009
Source:click here
Subject:Following The Flight Of Violinist David Garrett
Content:

Violin virtuoso David Garrett uses his 300-year-old Stradivarius to play Mozart, Metallica and Michael Jackson.

On Monday, he was giving a taste of his talent to those watching CPTV, and his plans are to give them and others more when he plays the Bushnell's Belding Theater Oct. 29.

Dubbed the " David Beckham of Classical Music," the blond, pony-tailed sometimes model who studied with renowned violinist Itzhak Perlman at New York's Juilliard School, had the ladies at the Asylum Avenue public television studios a bit breathless as he got ready for his appearance for a fundraising show, sending them swooning with his charm, chiseled jawline and German accent.

"The David Beckham thing helps," he said, kidding, as he explained how, as a hard-core classical musician, he has recorded songs like Jackson's "Smooth Criminal" and Metallica's "Nothing Else Matters" to attract a younger crowd to his music.

"I had to get permission to record 'Smooth Criminal' but don't know if it came from Michael Jackson himself," said Garrett, who included the piece on his self-titled debut CD earlier this year. "I'd like to think he heard it."

Garrett, 27, who is single and says he has no plans for marriage right now, said he has no idea what else he would rather be than a musician.

"I started so young I don't think I ever thought of doing anything else," said Garrett, a child prodigy who has one other accomplishment to brag about.

He recently set a record as the world's fastest violinis,t playing Nikolai Rimsky-Korsakov's "Flight of the Bumblebee" is a record-breaking 66 seconds.

"I like to have fun," he said about the feat that makes him a candidate for the 2010 Guinness Book of Records.


Posted by:Webmaster
Posting date:18.07.2009 - 05:24:29
Submitted by:Maya
Article date:16.07.2009
Source:click here
Subject:Violinist David Garrett channels Michael Jackson
Content:

NEW YORK (CNN) -- Not every classically trained musician has the gumption to interpret Michael Jackson on the violin. But German-born virtuoso David Garrett re-imagines "Smooth Criminal" with such fervor that you'd think Jackson had intended the song to be played by the instrument all along.

"I always loved his performances because as a lot of classical musicians are perfectionists, he was," said Garrett of the late singer. "He was really one of those people who was really old school, always looking for better performances. [He was] definitely a big influence [on me]."

Recorded before Jackson's death, Garrett's "Smooth Criminal" cover appears on his self-titled debut album, which has enjoyed three weeks atop the classical crossover charts since its release last month on Decca Records.

As comfortable playing Bach's "Air on the G String" as he is Metallica's "Nothing Else Matters" (both of which appear on the album), Garrett makes no bones about the fact he's trying to attract a younger audience to classical music by injecting shots of rock and pop.

Already a celebrated artist in Europe and Asia, the 28-year-old worked his way into the spotlight in the United States with help from his PBS special "Live in Berlin."

And his chiseled jawline and playful blond ponytail seem to help sway the female contingent. After spotting him recently on NBC's "Today Show," actress Kirstie Alley declared on Twitter that Garrett was her new crush.

But she'd better get moving if she wants to keep up with him. Garrett, who studied with renowned violinist Itzhak Perlman at New York's Juilliard School, recently set a record as the world's fastest violinist, a feat to be documented in 2010's Guinness Book of World Records. He played "Flight of the Bumblebee" in a dizzying 66 seconds. Put another way, that's 13 notes per second. Really.

David Garrett recently dropped by CNN and shared his (humble) theory of why he often gets called the "David Beckham of classical music" and why he thinks the genre has failed to enthuse young music listeners in the past.

CNN: So who's cooler: Mozart or Metallica?

David Garrett: Oh they're both in my world very, very cool. And they both have a huge influence on my performance and what I play on stage.

David Garrett recently dropped by CNN and shared his (humble) theory of why he often gets called the "David Beckham of classical music" and why he thinks the genre has failed to enthuse young music listeners in the past.

CNN: So who's cooler: Mozart or Metallica?

David Garrett: Oh they're both in my world very, very cool. And they both have a huge influence on my performance and what I play on stage. CNN: When you mix pop and rock with classical music as you do, do you get the cold shoulder from classical purists?

Garrett: About 70 percent of my concertizing is core classical. So most of them know that I've been pretty much a very conservative classical artist all my life. ... I just use these semi-classical works in order to get younger people interested in what I do when I play the Beethoven, the Bach, Mozart, Tchaikovsky, which is a big piece of my heart.

CNN: It has always been difficult for classical musicians to bring in a younger audience. Is it working in your case?

Garrett: To be honest I don't think people are trying. I think somebody like Yo-Yo Ma, or ... [Leonard] Bernstein, those are people who really got out and promoted classical music.

But I think a lot of my colleagues just don't really realize that they have to work in order to get the interest of an audience, especially with young kids, especially because it's not that popular anymore. You don't see it on TV, you don't hear it on radio, so you really gotta put an effort into promoting classical music.

CNN: Was your move to New York pivotal in helping you decide to introduce rock and pop?

Garrett: Yeah, probably. When I went to Juilliard, most of my friends were ... from the dance and the drama division. When they took me out, it was more to rock shows or R&B stuff. They exposed me to a lot of music which I wasn't really into at that point. I really got excited about it and just tried to make it my own thing.

Violin for me is a great instrument because you can use it as a rhythmical instrument and also as a melodic instrument. ... You can pretty much do everything with the violin. Sometimes I feel classical music limits the violin.

CNN: You modeled on the side while you were at Juilliard. So are you the David Beckham of classical music?

Garrett: I always think people say that, how I kind of try to explain it to myself ... [is] basically he kind of opened up football to a whole new audience.

CNN: That's not why they say it.

Garrett: Well, this is how I'm explaining it to me! He kind of drew a new audience to football, OK mostly female, but that's not a bad thing. ... I think that's why people actually say that because they know I really try very hard to get new audiences for classical music.

CNN: Tell us about your violin. It's a Stradivarius?

Garrett: Yes it is.

CNN: So how old is it?

Garrett: [It was made in] 1717, so it'll be 300 years old in a couple of years.

CNN: Do you have to do anything to take care of an instrument that old?

Garrett: They're pretty substantial instruments if you don't drop them, if you don't sit on them, or if you don't throw them around.

CNN: Didn't you break one of your violins?

Garrett: Yeah, I did fall on one a couple of months ago. It's not that I did it intentionally. It was a very unfortunate accident. I was very upset for a very long time.

CNN: If you could choose one word to describe yourself, what would it be?

Garrett: Diplomatic. Because I'm always try to get people together. You always have to be diplomatic with music, with classical, with whatever you do.


Posted by:Webmaster
Posting date:02.08.2009 - 19:03:08
Submitted by:Tabitha
Article date:28.06.2009
Source:click here
Subject:[Konzert Review] David Garrett plays The Four Seasons
Content:

Musical fireworks at The Hampton Court Palace Festival

The Four Seasons, Hampton Court Palace Festival - 6th June 2009

It’s hard to imagine a more quintessentially English way to spend a summer evening than picnicking in palace gardens before a performance from the Royal Philharmonic Orchestra. It’s one of the reasons why The Hampton Court Palace festival, now in its 17th year, has become a cultural highlight in the musical calendar. Unfortunately, Saturday night’s weather wasn’t quite so summery, but the audience were still English so the picnicking carried on regardless - just with extra blankets.

The evening’s classical indulgences began with a spirited performance of Bach's Orchestral Suite No.3 and Handel's Music for the Royal Fireworks - minus the actual fireworks due to high winds, but conductor Benjamin Bayl ensured that the musica more than made up for it. Though the stage is in the open air, the courtyard provides perfect concert acoustics and the sound here (excusing some harmonizing birdsong and the odd low-flying plane) is surprisingly good.

Temperatures dropped for the second half, but the atmosphere soon warmed up as virtuoso violinist David Garrett took to the stage for an outstanding performance of Vivaldi’s Four Seasons. Born in Aachen, Garrett made his debut at the age of 10 with the Hamburg Philharmonic Orchestra, and has since played to world-wide acclaim on the classical circuit while releasing two successful crossover albums of his own arrangements.

It comes as no surprise, then, that he plays Vivaldi like a dream, inspiring the crowd at Hampton Court to applaud louder with every movement until at the end there was nothing to do but stamp their feet for an encore. It was a well-earned reception for an unusually generous soloist: Garrett brings humour and charm to his art, engaging with his audience and fellow musicians as though the perfect sound is worthless unless everyone’s involved.

There was an electric energy on stage, with some beautiful interaction between lead members of the orchestra. The seasons played out to a spectacular lighting scheme after dark and the cold wind, though harsh on violinists’ fingers, only seemed to add to the drama. It’s a treat to find a classical concert that’s as good to watch as it is to listen to - and the Hampton Court Palace festival isn’t over yet.


Posted by:Webmaster
Posting date:02.08.2009 - 19:05:14
Submitted by:Hemera, Andrea
Article date:28.06.2009
Source:click here
Subject:German violinist enjoys fame second time around
Content:

David Garrett has a No. 1 album on his hands. The classical violinist's self-titled U.S. debut has been No. 1 on Billboard's Top Classical Crossover Albums chart for three weeks. But this isn't Garrett's first brush with stardom.

The German artist was playing in front of world-class orchestras at 8 and signed his first record deal at 12. When Garrett entered his teens, however, the pressures of the music industry became too great, so he fled Germany for New York.

"The pressure of constantly performing was finally getting to me and people were making too many decisions for me," he says. Experiencing mainstream pop music for the first time in New York, Garrett rediscovered his flair for the violin at the Juilliard School. "The music brought me back," he says. "But this time, I knew I could create it on my own terms."

Garrett's Decca Records album fuses traditional classical compositions with riffs on classic tracks by Queen and Michael Jackson. The result is a technically dazzling introduction to the artist that nonclassical fans can also enjoy.

"An older audience just likes listening to the songs, while a younger audience can recognize his take on 'Smooth Criminal' and appreciate it," Decca GM Paul Foley says. "It's important to expand both demographics, and David straddles that line well."

The violinist recently starred in a successful PBS special, "David Garrett: Live in Berlin," and was featured this month in an interview for NPR's "All Things Considered." Garrett's striking good looks also landed him a spokesman stint for Banana Republic this spring, which led to packed in-store appearances.

While Garrett continues to perform in Europe and Asia, a proper U.S. tour is slated for the fall. It kicks off September 16 in Glenside, Pa. The trek will trade his mammoth, symphony-backed overseas shows for more intimate, band-accompanied performances -- a move with which Garrett is comfortable.

"There's nothing more beautiful than an unfamiliar audience who doesn't know exactly what to expect because they're more honest," he says. "I'm starting from scratch to some degree in the U.S., but that's the most fun part for me."


Posted by:Webmaster
Posting date:24.06.2009 - 22:00:40
Submitted by:Maya
Article date:16.06.2009
Source:click here
Subject:The five minute interview: David Garrett
Content:

While studying at the Juilliard School in New York City, David Garrett supplemented his income by working as a model. Some fashion writers have described him as 'the David Beckham of the classical scene' - He is also frequently described as part maverick, part genius, total virtuoso... whatever the media label, Davids musical talent speaks for itself. Davids self titled album was released in the US on 2 June this year.

A phrase/word I use too often is...
Ok, I will make it work!

A common misperception about me is...
that I like going out. I looooove it. :-)

My biggest fear is...
to become boring

The best piece of advice I've ever been given was... never listen to anybody

One thing I can't live without is...
Music and Tequilla

The quirkiest thing about me is...
I travel with my own pillow

The first album I ever bought was...
an album by Queen

The song/music I listened to last was...
Brahms 1st piano trio

My philosophy in life is... do not wait until your old. Do it now

The next project I plan to work on is...
my friends album as a producer


Posted by:Someone
Posting date:12.06.2009 - 20:32:53
Submitted by:Andrea
Article date:04.06.2009
Source:click here
Subject:Banana Republic City Sounds | Artists Conversations 3
Content:

As an add to their City Stories campaing, Banana Republic interviewed the artists in the City Sounds Compilation. They asked their favourite places and personal style. Here’s the result…

Question 1. What are your 3 favorite music venues to hear music and why?

David Garrett
1.Royal Albert Hall, London – As much great classical music has been performed there as great contemporary and rock music. I’ve been lucky to have played there many times, and it has real magic.
2.Metropolitan Opera, New York, NY – The best place to experience opera.
3.Theatre Champs Elysees, Paris, France - I have played there and it is totally iconic and historic. Stravinsky’s “The Rite of Spring” was performed here first.

Question 2: What are your three favorite places to eat in a city and why?

1.Lazarza, East Village, New York - Great food up-stairs, great club downstairs. Cool crowd too!
2.NOBU, London, UK - Great food – and delivers to your hotel room!
3.Bagel Stix, 53rd/8th, New York - Just by my apartment - always great in the morning after a long night!

Question 3: What are your three favorite city spots to go to for inspiration?

1.Central Park, New York - I like nature – reminds me of my home town in Germany. I can unwind and let my sprits go free.
2.Metropolitan Museum, New York - So many different cultures in one space. It mirrors my life and my music – my tastes – my inspiration.
3.Ponte Vecchio, Florence, Italy - Reminds me of the past, the golden age of classic music, and captures a magical era.

Question 4: Where do you have out after the show?

1.Bijoux, New York - Tuesday nights – great crowd, hot females, and chilled atmosphere.
2.Beatrice, New York – Especially on Wednesday nights! Same reasons!
3.Boujl’s, London - Tuesday nights. Always see familiar faces from all over the world – many are good friends.

Your Style
Question 1: How do you describe your style?
Bo-ho surfer chic!


Posted by:Someone
Posting date:04.06.2009 - 07:44:52
Submitted by:Andrea
Article date:02.06.2009
Source:click here
Subject:[CD Review] David Garrett
Content:

Review by C.E. Moore

This is the first classical album I am reviewing for the site. Actually, it’s the first classical album I’ve ever reviewed. So, fans of classical music need not take it seriously because I am basing my opinion entirely on the fact that I like the violin and that I like the novelty of this project. I freely admit that I have no idea about the nuance and intricacies of classical music. I just know what I like. And I really like David Garrett. Garrett opens the project with the intense Vivaldi piece “Summer.” And just like that, we’re off to the races. Bombastic and forceful, if you sit back and just listen, one can envision Garrett gazing intently, eyes full of fire as he commands to violin to do his bidding. As if by magic, the violin does as it is commanded, releasing a torrent of musical power reserved for instruments 3 times its size. A majority of the album, however, is not dedicated to the orchestral greats such as Vivaldi or Bach, though they certainly get their time to shine. No, Garrett’s American album debut is more an ode to America’s greatest musical acts than it is to the world’s greatest composers. Here Garrett is just as comfortable playing a somber rendition of Metallica’s “Nothing Else Matters” to the sweeping sound of “He’s A Pirate” from the Pirates of the Caribbean films series to the Michael Jackson masterpiece “Smooth Criminal.” But, Garrett also proves himself a more than capable composer in his own right. “Chelsea Girl” is an original piece that is as beautiful as it is emotive. One can imagine more than one husband and wife dancing to this number on their wedding night or beneath a Tuscan sun. My only gripe is that it is not long enough. It has just begun to melt your heart when it slides into the next song, which is totally dissimilar. David Garrett is already a classical music god across the pond. Now, he is on the brink of becoming a star in the land of the free and the home of the brave. And what better way to introduce oneself than to flatter us with fresh interpretations of some of our best-loved music? From the sounds of AC/DC to Queen, Garrett does it all. Welcome to America, David. We hope you got your green card, cause we’re not sending you home for a while.


Posted by:Webmaster
Posting date:23.07.2009 - 19:57:54
Submitted by:Maya, Schnuppe
Article date:01.06.2009
Subject:[Original Article] Wichtig ist es, sein Glück jeden Tag aufs neue zu versuchen! - Its important to find your fortune every day anew!
Content:

Original Article (english part below!!!)


Posted by:Someone
Posting date:29.05.2009 - 20:04:02
Submitted by:Maya
Article date:28.05.2009
Source:click here
Subject:[Info] David Garrett: live in the studio! (wliw21)
Content:

David Garrett: Live in Berlin

Wednesday, June 3 at 7:30 p.m. with Garrett LIVE in the studio!
Friday, June 5, 2009 from 10:00 p.m.
German violin virtuoso weaves classical standards with rock & pop favorites in his first U.S. concert special

“David Garrett is already the stuff of legend — in him is enshrined an entire corpus of virtuoso violin art, expounded with a fearsome beauty beyond comprehension.” — BBC Music Magazine

Known in Britain as “the David Beckham of the violin,” David Garrett has touched hearts and astounded audiences wherever he has performed. From Vivaldi to Queen to Michael Jackson, the young German violinist weaves classical standards with rock and pop favorites for a thrilling performance in his first PBS special, David Garrett: Live in Berlin – premiering nationwide May and June 2009 (check local listings).

Accompanied by a symphony orchestra and full rock band, Garrett enthralls the audience in Berlin’s stunning Tempodrom concert arena with his talent and rousing repertoire. He cleverly re-interprets Queen’s ballad, “Who Wants to Live Forever;” gives AC/DC’s “Thunderstruck” a memorable new twist; and opens with the rousing “He’s a Pirate” from Pirates of the Caribbean.

Given his enduring commitment to his first musical love, Garrett also performs classical pieces, including selections from Vivaldi’s The Four Seasons and Bizet’s Carmen. The virtuoso violinist also displays his own writing skills with “Chelsea Girl.” David Garrett: Live in Berlin is an invigorating journey from Brahms to Metallica — with music from classical to rock and back. Full program song list.

The program coincides with Garrett’s forthcoming debut U.S. album, David Garrett, which will be released in the U.S. on June 2, 2009. Already a rising star in Europe and the Far East, he is the top international musical artist in Germany, where his last album debuted at number seven on the German Billboard Charts. On the famous “Last Night of Proms” in the UK, he played to a crowd of 40,000 people and appeared at the Royal Albert Hall in an impressive six concerts in seven days.

Dubbed “the fastest violinist in the world” by German paper Kolner Stadt-Anzeigere, Garrett will be in the 2010 Guinness Book of World Records as the fastest-ever performer of the “Flight of the Bumblebee,” clocking in at a blistering 66 seconds.

Born in Aachen, Germany in 1981 to an American ballerina mother and a German lawyer father, David Garrett was a true child prodigy. By the time he was eight years old, he was being booked to play as a soloist with some of the world’s greatest orchestras; he was signed to the classical music label Deutsche Grammophon at age 13. As a teenager, he ached to escape the confines of classical music and the grueling career he felt he could no longer sustain. Without telling his parents, Garrett fled to New York to sample life as a “normal” adolescent, putting aside classical violin in favor of rock music. Eventually, his passion for the violin returned and he auditioned for the Juilliard music school. Garrett was accepted and, to his surprise, taken on by legendary violinist Itzhak Perlman. Taking odd jobs for cash, David found himself working as a busboy and later, modeling. Effortlessly, he eventually landed in the pages of Vogue, and the Fashion Week catwalks for Armani, all the while pursuing his musical dreams. With a multi-faceted international career, arresting good looks and charisma, it’s not surprising that David landed a deal as a global brand ambassador for Banana Republic, appearing in their 2009 national advertising campaign for spring/summer, “City Stories.” Lauded conductor and Kennedy Center Honoree Zubin Mehta put it best when he said, “David Garrett is surely going to have a resounding presence in the music world of the 21st century.”

Song List:
“He’s a Pirate” (from “Pirates of the Caribbean: The Curse of the Black Pearl”) Composer: Klaus Badelt and Hans Zimmer

“Winter” from The Four Seasons Composer: Antonio Vivaldi

“Smooth Criminal” Composer: Michael Jackson

“Who Wants To Live Forever?” Composer: Brian May (Queen)

“Rock Prelude” Composer: David Garrett and Franck Van der Heijden

“Hungarian Dance No. 5” Composer: Johannes Brahms

“Ain’t No Sunshine” Composer: Bill Withers

“The Flight of the Bumble Bee” Composer: Nikolai Rimsky-Korsakov

“Somewhere” with Silvia Colloca (from “West Side Story”) Composer: Leonard Bernstein Lyricist: Stephen Sondheim; Italian Lyricist: Devilli

“Csárdás” Composer: Vittorio Monti

“Dueling Strings” (an arrangement of “Dueling Banjos”) Composer: Arthur Smith

“Summer” from The Four Seasons Composer: Antonio Vivaldi

“Nothing Else Matters” Composer: James Hetfield and Lars Ulrich (Metallica)

“Zorba’s Dance” Composer: Mikis Theodorakis

“Chelsea Girl” Composer: David Garrett and Franck Van der Heijden

“Volare” Composer: Domenico Modugno

“A Whole New World” (from “Aladdin”) Composer: Alan Menken Lyricist: Tim Rice

“Thunderstruck” Composer: Angus Young and Malcolm Young (AC/DC)

Underwriters: Public Television Viewers and PBS. A presentation of WLIW21 in association with International Media and WNET.ORG.

Executive producers: Andre Selenit, Gustavo Sagastume and Rick Blaskey. Producer/Director: Hannes Rossacher. ST and CC.


Posted by:Webmaster
Posting date:02.08.2009 - 12:45:46
Submitted by:Elise
Article date:27.05.2009
Source:click here
Subject:Viuluvirtuoosia luultiin katumuusikoksi
Content:

Ihmeviolistin maineessa oleva David Garrett (27) on joutunut turvamiesten häätämäksi kesken faneille antamansa yllätyskonsertin Dresdenissa Saksassa, koska häntä luultiin katumuusikoksi.

Garrett teki yllätyskeikkansa Zwingerin alueella hänelle tyypillisesti lippalakissa, farkuissa ja t-paidassa. Soittimena oli silti noin neljä miljoonaa euroa maksava stradivari. Taituri ehti soittaa mm. Bachin viulusoolon ennen kuin vartijat puuttuivat peliin.

- Soitatte äänekkäästi, aiheutatte yleistä häiriötä. Emme tunne ketään David Garrettia. Poistukaa paikalta, vartijat komensivat muusikon ja kerääntyneiden ihmisten hämmästellessä.

Saksan kulttuuripiirit puhuvat "valtavasta skandaalista". Miten maailmankuulua violistia voidaan luulla katusoittajaksi ja kohdella moiseen tapaan? Onko Saksa enää kulttuurivaltio? Ihan varmasti.


Posted by:
Posting date:29.05.2009 - 19:48:37
Submitted by:Maya
Article date:27.05.2009
Source:click here
Subject:[Konzert Preview] David Garrett in Concert
Content:

October 29, 2009 - 8:30 pm
Broadcast Date(s):June 10, 2009 - 8:00 pm
Pledge Levels:

Ticket Information will be posted soon.

“David Garrett is already the stuff of legend - in him is enshrined an entire corpus of virtuoso violin art, expounded with a fearsome beauty beyond comprehension.” BBC Music Magazine

The lauded conductor and Kennedy Center Honoree Zubin Mehta put it best when he said, “David Garrett is surely going to have a resounding presence on the music world of the 21st century.”

By the time he was thirteen years old, when most of his peers were whiling away their afternoons on their new PlayStations, the virtuoso violinist David Garrett had a classical music career that would make most artists of any age pea-green with envy. Born in the German city of Aachen to an American ballerina mother and a German father who was a lawyer, David was a true child prodigy. At age eight, he was being booked to play as a soloist in front of some of the world’s greatest orchestras, including the London Philharmonic, the Los Angeles Philharmonic, and the Russian National Orchestra. When he was twelve, he was performing alongside legend Yehudi Menuhin. When he turned thirteen, he was signed to one of the most famous and prestigious classical music labels in the world, Deutsche Grammophon, as a solo artist.

With the demands of his fast-burgeoning career and an ultra-intense focus on classical music, David had barely heard any rock or pop music until he was a teenager. “I’d listened to nothing but classical music until the age of fourteen,” says the now 27-year-old David, who was home-schooled until that age. “So when I started going to regular school, and started to be exposed to all this pop and rock, it was a revelation.”

As a result, David has carved out a unique and wholly new artistic path, one that pays as much homage to Metallica as to Mozart. His daring journey from classical wunderkind to mature and highly adventurous artist has been fulfilling not just for him personally, but clearly resonates with an enormous worldwide audience. David Garrett is already a huge star in Europe, as well as the Far East. He plays nightly to thousands of adoring fans, particularly in Germany where he has already completed a sold-out arena tour, conquered the charts and garnered two gold discs for both of his records released there. On the famous Last Night of Proms in the UK, he played to a crowd of 40,000 people, and also appeared at the legendary Royal Albert Hall in an impressive six concerts in seven days. His sole album released in the UK became a Top 20 chart fixture.

Now, he’s set to conquer a whole new terrain with his first American release, simply entitled, David Garrett. His international career is multi-faceted. With arresting good looks and charisma, David landed a deal as a global brand ambassador for Banana Republic in 2009, and has additional endorsements overseas with brands including Audi and Montblanc. Dubbed, “the fastest violinist in the world,” by German paper Kolner Stadt-Anzeigere, the incredible violinist will be in the 2010 Guinness Book of World Records, as the fastest-ever performer of the Flight of the Bumblebee, clocking in at a blistering 66 seconds.

David has long been one to forge his own path in the world. As a teenager in Germany, with a glorious, but grueling, classical career of international symphony concerts and recordings, he ached to escape the confines of classical music. Without telling his parents, he fled to New York to at last sample the life of a “normal” adolescent, with every temptation imaginable at his fingertips. The classical violin was put aside as he discovered rock music, clubs and girls.

He eventually rediscovered his passion for the violin during his rebellious phase, and decided to audition at the world famous Juilliard music school. He was accepted, and to his surprise, taken on by the legendary violinist, Itzhak Perlman. While at Juilliard, David began taking on odd jobs to pay the bills - moonlighting as a busboy and modeling in his spare time. Not surprisingly, he eventually landed in the pages of Vogue and the Fashion Week catwalks for Armani, all the while pursuing his musical dreams.

“Before Juilliard I’d lived in a shell, spending 24 hours a day with adults,” he reflects. Living in New York and going to Juilliard opened David’s eyes, and ears, to whole worlds he had been missing while he’d been off practicing the classical music canon seven hours a day. He says that coming into his own as a musician was a kind of liberation, one which freed him from the expectations of the small and insular classical music world. “Everyone told me not to make mistakes,” he recalls. “But when I was eighteen I thought, ‘…. it, I want to make mistakes!’ At that point, I felt a little burned out with classical music and wanted to do something new and fun.”

You know you’re in for a different kind of violin experience as soon as you hear David’s cover of Michael Jackson’s “Smooth Criminal.” At an after-hours party at David’s New York apartment one night, someone shouted out a special request for this song when David was improvising for his guests, and the violinist took on the challenge. He is perhaps the first person to draw a parallel between Michael Jackson and Mozart’s writing styles: “I was working on the Mozart A Major violin concerto around the same time I was working this out, and I couldn’t help but notice an underlying harmonic pattern in ‘Smooth Criminal’ that was similar to the famous Turkish march from the last movement of that Mozart concerto.” At the end of the track, he skillfully combines the two works.

Other influences on David include Queen (”the first non-classical album I ever bought was A Night at the Opera,” the violinist recalls). The band’s ballad “Who Wants to Live Forever” makes its way onto David Garrett, as does AC/DC’s “Thunderstruck.” The violinist draws on a fantastic array of other stylistic inspirations. “He’s a Pirate” was taken from the score for the smash film franchise “Pirates of the Caribbean.” David says, “I’ve always loved film music, and this score just delivered the right amount of power and seriousness to counterpoint the rather funny story.” Bill Withers’ “Ain’t No Sunshine” makes an appearance as well; it’s been a longtime favorite which David always used first as a backstage warm-up before performances, and then as a staple in his dynamic live shows.

Given his enduring commitment to his first musical love, David (who was dubbed “Formula One on the strings” by the major German newspaper, Kolnische Rundschau) still includes some classical selections on this American debut, including the last movement of Vivaldi’s “Summer” from his hugely popular The Four Seasons (”keeping the original structure, but creating a new sound that captures the energy of rock”), and Bach’s Air, which gets a daring modern twist. David argues that so much of Bach’s music was based on the popular dance forms of his time, ones that he says are “actually quite similar to modern dance music”-why not give Air an R&B update?

Not to be satisfied with just doing innovative and imaginative covers of music from such a wide variety of genres, David also displays his own deft writing skills with notable originals, including “Chelsea Girl,” which was inspired by an on-again/off-again flame.”

David says that in many ways David Garrett is the ultimate result of his musical journey. He calls it “one hell of a project,” but he means that in the best way. “I’ve put everything into it,” he recounts, “my time, my emotions, my musical integrity, my technical playing, my arrangements and new pieces-everything.”

All tickets will be processed on a best-available basis (from front of the theater to the rear) in the order in which they are pledged. All ticket pledges must be on a credit card!

Pledge now

or call CPTV at 1-800-683-2112.


Posted by:Someone
Posting date:18.04.2009 - 07:55:47
Submitted by:Maya
Article date:10.04.2009
Source:click here
Subject:[Hongkong] David Garrett interview
Content:

Hong Kong is one of your biggest markets. Why?
Hong Kong was the first market where I saw things work out in a big way. It was where I felt the whole crossover project (the 2006 album Virtuoso) worked. It was the first record where I wrote my own stuff, [and] when you do such a thing you don’t know how people will react to the material. Hong Kong was the first place where I got very, very positive feedback, and because of that Germany opened up for me.

You’re just 27 years old but have performed in public countless times since your talents were recognised as a child. Does any concert stand out as the best?
I’ve performed a couple of thousand times. There are so many memorable experiences. I once played in front of 40,000 people in Hyde Park, and last year I did a football stadium opening in Germany for 10,000 people. It was a great experience.

What are the ingredients for a memorable performance?
In all these experiences, the people make a difference. I worked with [renowned violinist Yehudi] Menuhin when I was a child and that was special. Every concert has something you learn, either from the conductor, the orchestra or about yourself.

Your newest album Encore features diverse works ranging from Brahms’ Hungarian Dance No. 5 to AC/DC’s Thunderstruck. Why mix it up?
I just listened to a lot of music directions. I’ve always enjoyed using elements of classical and rock. It’s always been about finding your own taste. I think it’s an amazing opportunity to have these days, to do these kinds of projects that attract new audiences. At the end, I’m a core classical performer. It’s about 70-80 per cent of my repertoire. But it’s important to draw a younger audience, give them something they can relate to. That’s the main idea behind the crossover.

As Germany’s best-selling artist, there must be significant demands on you. How do you make enough time to keep growing as a musician?
That’s a very difficult question. The most important thing is to start from scratch every morning. Never play something the same as you played last night, always search for a better interpretation, always grow as a musician… every morning look at stuff in a new way and never rely on something you did last night, even if it was a success. That’s the key.

You’ve had the privilege of playing with musical giants like Yehudi Menuhin and Itzhak Perlman. From your performances and interviews, it’s clear that you value an expressive and individualised style. Why is this important to you?
It makes a difference. The biggest problem these days in music is there’s a great level of playing technically, probably the highest level ever, but a lot of people sound alike. I always remember Itzhak Perlman told me that it has to be different; you have to find your own voice. If you listen to singers, you might like them or not, but all the top vocalists have their unique talent which you have to strive for as a violinist. All of them – Menuhin, Perlman, Heifetz – have their own voice. Too many try to copy too much. It doesn’t lead to individual uniqueness, and that’s the most important thing to find.

You’ve been nicknamed the David Beckham of classical music. Would you agree that David Beckham is the David Garrett of sport, or is there someone else out there?
[Laughs] Well, I’ve never seen it that way. Interesting! Every time I hear this quote, I refer people to the fact that David Beckham has done a lot of good for sport. He’s brought a lot of people into football, over his skills, his looks. You see what he’s done for the sport in the US and he’s an ambassador. In the end, that’s what matters.

David Garrett plays with the Hong Kong Sinfonietta at City Hall, April18 (8pm) and 19 (3pm).


Posted by:Someone
Posting date:07.04.2009 - 07:05:47
Submitted by:Maya
Article date:04.04.2009
Source:click here
Subject:David Garrett: Live in Berlin
Content:

Wednesday, April 8, 2009, 8:00 PM - 10:00 PM

Hailed as “the David Beckham of the classical scene,” young German violinist, David Garrett, weaves classical standards with rock and pop favorites in his first U.S. concert special.

DAVID GARRETT: LIVE IN BERLIN aspires to cultivate an appreciation for classical music in today’s youth with songs ranging from Michael Jackson’s “Smooth Criminal” to Queen’s “Who Wants to Live Forever,” from Vivaldi’s “Four Seasons” to AC/DC’s “Thunderstruck” and Metallica’s “Nothing Else Matters,” as well as songs from the blockbuster films “Pirates of the Caribbean: The Curse of the Black Pearl,” “Aladdin” and “West Side Story”

A modern virtuoso, sometime model (Banana Republic, “Vogue,” and Fashion Week for Armani), and Guinness World Records holder for the fastest-ever performance of “The Flight of the Bumble Bee” -- clocking in at a blistering 66 seconds -- David Garrett is poised for American superstardom and will be live in the WLIW21 studio on Wednesday, April 8 at 8 p.m. Public Television WLIW21 event website During the two-hour broadcast premiere, WLIW21 will offer exclusive tickets to David Garrett’s April 22 concert at City Winery!


Posted by:Someone
Posting date:25.02.2009 - 07:26:21
Submitted by:Maya
Article date:23.02.2009
Source:click here
Subject:OK Go, Chris Carrabba Team Up With Banana Republic
Content:

Banana Republic is bringing the inspirational elements of city life to its Spring 2009 marketing campaign which features talented young musicians, including Sara Bareilles, Liz Phair, OK Go, and Dashboard Confessional's Chris Carrabba. The nine artists are all featured in interviews, performances, and free music downloads are available at the Banana Republic website and YouTube.

There are three songs available for free download on iTunes right now:

  • OK Go - "Here It Goes Again" (UK Surf version) [A rare, slowed down version of the "treadmill" song]
  • Liz Phair - "Never Said" [classic track from her debut album Exile In Guyville]
  • David Sanchez - "Manto Azul" [From his latest album Cultural Survival, the follow-up to his Grammy-winning 2006 album.]
These tracks are part of a special compilation which is available for free with any Banana Republic purchase now thru February 26th.

Banana Republic City Sounds Volume 1 tracklisting:

  • OK Go - Here It Goes Again (UK Surf) [A rare, slowed down alternate version. The "treadmill" video for the song has been viewed on YouTube over 43 million times and won the Grammy for Best Short Form Music Video in 2007.]
  • Sara Bareilles - Gravity [The new single from the million-selling album "Little Voice" and a follow-up to the twice Grammy-nominated hit single "Love Song."]
  • Dashboard Confessional - Stolen (Live- Previously Unreleased) [A previously unreleased live version of Dashboard Confessional's top 40 hit.]
  • Liz Phair - Never Said [A classic track from Phair's debut album Exile In Guyville, one of Rolling Stone's Top 500 Albums of All-Time, reissued in 2008 as a 15th anniversary special edition.]
  • Ayo - Sometimes (Acoustic - Previously Unreleased) [Previously unreleased acoustic version of a track from her forthcoming album "Gravity At Last." Release date TBA.]
  • Esperanza Spalding - Sunlight (Previously Unreleased) [Previously unreleased in North America, this is a bonus track recorded at the same time as her 2008 album "Esperanza."]
  • David Sanchez - Manto Azul [From Sanchez's latest album Cultural Survival, the follow-up to his Grammy-winning 2006 release "Coral."]
  • Tommy Torres - Imparable [The new single from the "Latin Pop Album of the Year" Grammy-nominated album "Tarde O Temprano."]
  • David Garrett - Rock Prelude [The first single from David Garrett's forthcoming U.S. debut album due in March, 2009 (title TBA).]

Live performances at Banana Republic stores on Thursday, February 26th:

David Garrett - San Francisco (Grant St near Union Square)
Tommy Torres - Santa Monica (3rd St Promenade)
David Sanchez - NYC (Rockefeller Center)


Posted by:Someone
Posting date:16.02.2009 - 07:02:58
Submitted by:Angie2009
Article date:07.02.2009
Source:click here
Subject:La superstar Garrett suona per il velario
Content:

L'8 febbraio, al Teatro Sociale, il violinista esegue il Concerto per violino e orchestra di Mendelssohn

Sarà David Garrett, il ventottenne violinista prodigio cresciuto fra Germania e America con Ida Haendel e Itzhak Perlman, a celebrare quest’oggi in musica l’ultimo intervento di salvaguardia del Teatro Sociale di Como. Alle 20.30 il giovane solista, accompagnato dall’Orchestra 1813, eseguirà in teatro il celebre "Concerto per violino e orchestra op. 64" di Felix Mendelssohn-Bartholdy, brano vertice di un programma che comprenderà anche la "Serenata per archi in mi maggiore op. 22" di Antonin Dvorák e la "Petite Symphonie" di Charles Gounod. Il concerto, secondo appuntamento della stagione concertistica 2009 del Sociale, sarà anche la festa musicale per il termine del lavoro di restauro eseguito sul Velario storico del teatro, il grande sipario su tela del pittore Sanquirico, della superficie di circa 130 metri quadrati, realizzato nel 1813 per l’edificazione del teatro: perciò alle 18, in Sala Bianca, Alberto Longatti, il presidente della Società Palchettisti Francesco Peronese e la restauratrice Erminia Affetti incontreranno il pubblico in un’anteprima di presentazione. Celebrando il velario restaurato, il concerto di David Garrett darà risalto anche al bicentenario della nascita di Medelssohn ma si può dire che tutto il programma della serata, con il suo excursus sull’Ottocento europeo, costituirà un richiamo al primo secolo di vita del Sociale che si avvia a festeggiare il proprio bicentenario, già nel nome della propria orchestra stabile. Palpabile è la soddisfazione della Società dei palchettisti del Sociale, che in un quinquennio hanno compiuto il rifacimento del palcoscenico a superficie variabile, il restauro delle facciate, degli affreschi della volta e degli stucchi dei palchi nel tempio comasco dell’arte e della cultura. A loro si unirà il talento di David Garrett, enfant-prodige senza precedenti negli anni Ottanta con Abbado, Mehta, Sinopoli, Pletnev e interprete a quindici anni anni del "Concerto per violino" di Elgar con la Royal Philharmonic Orchestra diretta da Menuhin al Wiener Musikverein. Dopo il trasferimento alla celeberrima Juilliard School di New York, Garrett ha compiuto i passi definitivi per trasformare l’innato talento infantile in una personalità completa di musicista adulto: lo dimostrano l’eterogeneità stilistica, praticata attraverso un repertorio eclettico che va da Bach e Mozart ai grandi concerti classici per violino di Beethoven, Brahms, Sibelius e Caikovskij, ai concerti di violino raramente eseguiti di Conus, Schumann e Dvorák sino ai pezzi virtuosi di Waxman, Ravel e Saint-Saëns. Sotto contratto fin dall’età di 13 anni con la casa discografica Deutsche Grammophon, di cui è in assoluto l’artista più giovane, Garrett ha registrato i "Concerti per violino" di Mozart con Claudio Abbado (1995), i 24 "Capricci" di Paganini (1997), i "Concerti per violino" di Caikovskij e Conus con l’Orchestra Nazionale Russa diretta da Mikhail Pletnev (2001) e "Pure Classics", la compilation delle sue prime incisioni (2002). Per il prossimo autunno con Decca è prevista l’incisione del "Concerto per violino" di Mendelssohn in programma stasera al Sociale. I biglietti per il concerto saranno in vendita al botteghino del Teatro Sociale anche stasera a 20 euro. Info tel 031.270170 www.teatrosocialecomo.it


Posted by:Someone
Posting date:03.01.2009 - 08:18:34
Submitted by:Tabitha
Article date:02.01.2009
Subject:Inspiring Music
Content:

Original Article


Posted by:Someone
Posting date:12.10.2008 - 18:54:57
Submitted by:Tabitha
Article date:10.10.2008
Source:click here
Subject:David Garretts not just a pretty face
Content:

The David Beckham of the violin tells Andrew Cowen about the classical pop divide and why he has no time for modelling anymore.

I want to ask David Garrett about his modelling career, but he’s keen to talk about his classical music credentials.

German-born David, 28, is having a rare day off in Slovenia, where he’s playing some Paganini with an orchestra. When he arrives at Birmingham Town Hall (ring box office 0121 780 3333) tomorrow night, he’ll be backed by his band and the set-list won’t be so high-brow.

“We’ll play some classics, some pop and some rock songs,” he tells me.

Garrett now spends 10 months of each year on the road, dividing his time between playing classical music and rock songs with his band.

For a while, he earned a crust through modelling but music is his main provider now.

I ask him if it’s difficult for a model to be taken seriously as a musician, but he shrugs off the question with an “I’m a good-looking guy” and a reminder that he served his apprenticeship with the likes of Zubin Mehta, Claudio Abbabo and Mikhail Pletnev.

His recent performance at the Last Night of the Proms saw Garrett prowling the stage like a rock star and a mainly-female part of the audience screaming. Not the normal reception for this dignified night.

“It was one of those amazing experiences,” Garrett tells me.

“I love it when I have a huge crowd behind me, shouting.”

Garrett maintains that it’s his mission to bridge the rock/classical divide, using his youth, looks and virtuosity to turn a new generation on to classical music. He’s not one to make distinctions between different genres.

“Leonard Bernstein once told me that there’s only two types of music – good and bad, and I agree. To me, there’s no difference between Schubert and Metallica.

“With my band I play music from across the spectrum and that includes AC/DC and Michael Jackson’s Smooth Criminal.

“Besides, Beethoven knew how to write a good riff. The only thing that matters is whether it will sound good with my band.”

Garrett’s band shows are put together like rock shows in their pacing and dynamics.

The violinist is happy to throw some rock star shapes and milks the limelight mercilessly.

“As a performer, my main aim is to have fun on stage. When I started this strand of my career I had no idea whether it would work out.

“The real classical fans generally think it’s a good thing, although the pop stuff doesn’t go down well everywhere.

“In Slovenia, for example, they take their classics very seriously.”

Garrett also thinks that the current trend for downloading single tracks via the internet, rather than buying full albums, has changed the way young people engage with music.

“The thing about the iPod generation is that everything is so quick. You hear a song and you can have it within seconds. That’s a great thing and people really enjoy that freedom.”

It remains to be seen whether David Garrett can unite two audiences which are poles apart, but there’s no doubt he’ll have a great time trying.

“There’s so much variety in my life,” he says. “I wouldn’t change a thing.”


Posted by:Someone
Posting date:30.09.2008 - 20:00:34
Submitted by:Maya
Article date:26.09.2008
Source:click here
Subject:The 2nd Blue Season Concert
Content:

The Slovenian Philharmonic will be performing its 2nd Blue Season Series Concert at the very beginning of October, on the 2nd and 3rd.

This time, a milestone program including Rossini, Paganini and Dvorak will enliven the Gallus Concert Hall in Cultural and Congress Centre Cankarjev dom in Ljubljana.

The performance of Paganini’s 2nd violin concerto by violinist David Garrett and conductor Guillermo Garcia Calvo will certainly thrill visitors of the concert.

The devil’s violinist

Niccolo Paganini (1782-1840) was one of the most celebrated violin virtuosi of his time, and he left his mark as one of the pillars of modern violin technique. Due to his extraordinary technique, his nickname was and remains “the devil’s violinist”.

His 2nd Violin Concerto, which is on the program for the 2nd Blue Season Concert allows the violinist expression of great of greater individuality in the melodic style and holds back on the demonstration of virtuosity in its favour. The third movement of Paganini’s Second Concerto owes its nickname La Campanella or La Clochette to the motif that Paganini uses in each recurrence of the theme; it sounds like a little bell. The result is the extra charm of the gypsy coloration of the piece.

The star of the evening - David Garrett

The young and charismatic David Garrett has been back playing in international concert halls for the last two years. After his hiatus of several years, recommendations by Zubin Mehta prompted invitations leading him to Milan in February 2007, to perform the Brahms Violin Concerto and to Israel in May 2007, where he played 11 concerts with the Israel Philharmonic Orchestra, including Mozart’s Concert in G-major, Vivaldi’s Four Seasons and Paganini’s Concert No. 2 La Campanella.

Following these engagements, the conductor, George Pehlivanian, immediately invited him to perform with his orchestra in Ljubljana in October 2008. Other engagements this season include concerts at the Royal Albert Hall, Symphony Hall Birmingham, the Mendelssohn Concerto at London’s Barbican Centre and a US tour with the Israel Chamber Orchestra.

He is also passionate about developing young peoples’ enthusiasm for classical concerts and gives regular informal interviews about his concerts and what it takes to be a young professional musician.His latest release of the album Free (DECCA) contains arrangements and compositions of his own of pieces and melodies that have accompanied him in the milestones in his life. The album has been widely popular with a young audience and is listed on pop music charts in South East Asia.

His young and enthusiastic spirit will bring out all the demonic forces and heavenly beautiful passages of Paganini’s masterpieces for the enjoyment of the public.


Posted by:Someone
Posting date:22.07.2008 - 03:19:33
Submitted by:Tabitha
Article date:20.07.2008
Source:click here
Subject:Henley Festival Friday
Content:

Once again the rain played a part in proceedings — and once again it failed to dampeN the spirits of music and art lovers.

The usual well-dressed crowd enjoyed a bottle or two of wine and the odd glass of bubbly with a fine picnic spread, but this evening they were forced to hover under canopies in the car park and in the cabins of their boats to shelter from the wet weather.

But, as if by magic, the appearance of Lesley Garrett on the floating stage brought an end to the deluge. She was, without doubt, the star turn of the evening. Lesley is recognised as Britain’s favourite soprano — and no wonder.

Opera, even to lovers of the genre, can tend to be a tad high-and-mighty on occasions, but not in Lesley’s hands. She still comes across as a good old Northern lass and very down to earth who can even wring humour out of some of the most stoical classical pieces.

She was joined on stage by violinist David Garrett, who Lesley said was not her little brother, but she wishes he was, and tenor Will Martin.

Dubbed ‘the David Beckham of the violin’, Garrett — just 25-years-old — was a sensation. Note perfect and full of energy, he wowed the audience.

The even-younger Martin, at just 23, performed like a seasoned professional and was a great foil to both Garrett and Garrett!

But it was Lesley herself who stole the show. There is an increasing desire by opera singers to turn their attention to more popular music, usually with dire consequences. But not here. Garrett’s interpretation of You’ll Never Walk Alone and The Impossible Dream was, quite simply, sensational.

Naturally, there was also opera in the form of Rossini, Verdi and Puccini.

And it was not only her voice that was so admirable. There were three changes of dresses, with the third one, a lavish purple number, bringing the biggest gasps. “So many dresses — so little time,” bemoaned Lesley.

Following Lesley, spectators were divided in their desire to see either the fireworks or ensure they secured a seat in the Club Marquee for popular comedienne Sandi Toksvig.

The diminutive Dane, particularly loved by women, brought the packed house doen with an hour of hilarious jokes and wry stories, including some she deemed ‘too rude for a Henley audience’ — a notion they soon dispelled.

Olé, appearing in the Club Marquee, were a flamenco trio combined with theatre. Extremely energetic, they performed while simultaneously juggling instruments at each other.

This year’s firework spectaculars had a twist — and a first for the festival. Against the grand traditional firework backdrop Korean master drummers Dulsori presented a mighty barrage of ancient rhythms.

Then, as the fireworks faded away, the 30-piece Junkanoo Backline Carnival Band from the Bahamas took over with their joyous music and outstanding costumes.


Posted by:Someone
Posting date:16.07.2008 - 19:38:03
Submitted by:Sylvia
Article date:16.07.2008
Source:click here
Subject:David Garrett, quel violinista è un fuoriclasse
Content:

Firenze, 16 luglio 2008 - "Sono deluso, seccato di essere venuto da solo a Firenze. Ho dentro di me l’inquietudine di non poter condividere il mio ruolo con qualcuno proprio qui, nella città che amo tanto e dove torno con felicità". Così David Garrett (nella foto), il violinista con i capelli biondi e gli occhi azzurri, il profeta del motto: "la musica ha una carica erotica". Non sarà più tanto facile avvicinarlo da qui a un paio d’anni. Quando anche la 'politica della cultura' buon ultima, si renderà conto della genialità, della bravura, del dono di Dio che ha nelle mani e nell’anima un fuoriclasse del violino come lui. Un fuoriclasse come può essere Valentino Rossi: anche se uno non capisce niente di moto sente che lui è diverso da tutti, che è un genio. Ecco cos’è David Garrett, l’altra sera mezz’ora secca di applausi al museo del Bargello, gente in piedi che non se ne andava. Musicisti ospiti estasiati nell’ascolto di un artista unico nel suo genere.

Garrett, come è iniziata la sua avventura musicale tra violini di valore come Stradivari e Guarnieri?
"Ho un fratello più grande che suonava, ho ricalcato le sue orme. E ho mio padre, esperto di liuteria ad alto livello. E’ una vita che sto in mezzo alla musica. Per me è stato facile".

Lei spazia con naturalezza dalla musica barocca al moderno. Come fa?
"E’ una cosa naturale per me. Anche se la mia grande passione è la musica da camera, tra i pianisti con cui collaboro i sono Golan, Gortler Cernyavska. Ma quello che mi sta particolarmente a cuore è riuscire ad entusiasmare i giovani per i concerti di musica classica. Per questo ho recentemente inciso un cd con la Decca 'Free' che ha proprio la finalità di stabilire un contatto coi più giovani con composizioni di pezzi e melodie di cui mi sono sempre occupato".

Un look fresco, camicia e jeans, un viso candido e i capelli raccolti in un codino...studiato?
"Assolutamente no. Io sono così al naturale. Ma ho avuto un’esperienza anche come fotomodello a New York e forse questo mi torna utile oggi davanti a una platea".

Lei è nato nel 1981 a Aquisgrana, in Germania: a quando risale la sua prima apparizione?
"Avevo 10 anni ed ero con l’Orchestra filarmonica di Amburgo sotto la direzione di Gerd Alberecht. Ma è stato importante poi lavorare anche con la grande violinista polacca Ida Haendel che ha aiutato molto la mia formazione artistica"

Cosa ricorda della collaborazione col maestro Mehta?
"Tutto, ricordo una cosa bellissima, una grande esperienza a Milano a febbraio scorso, e in Israele dove con l’Orchestra filarmonica di Iscraele ho tenuto undici concerti. Un’esperienza molto bella, indimenticabile".

Qui a Firenze lei ci è arrivato con il maestro Giuseppe Lanzetta conosciuto in Germania. Stasera sarete insieme al Bargello con l’Orchestra da Camera Fiorentina...
"Sì e sono molto felice di questo. Con lui suono benissimo e sono felice di quello che riusciamo a fare insieme".

Cosa vede nel suo futuro?
"Io sono uno a cui piace quello che fa, che prende la vita come va, con tutto quello che gli si presenta. E che non ha pretese nei confronti del futuro. Per ora va bene così".


Posted by:Someone
Posting date:03.06.2008 - 08:17:49
Submitted by:Tabitha
Article date:01.06.2008
Subject:Classic FM Magazine - Original Article
Content:

Classic FM July 2008 - Original Artikel


Posted by:Someone
Posting date:05.06.2008 - 10:23:29
Submitted by:Sylvia, Elise
Article date:01.06.2008
Source:click here
Subject:David Garrett: simply classical (Interview)
Content:

When I met him for this interview, David Garrett had just landed after a flight from New York.

Dressed in a T-shirt, fashionably torn jeans and Hawaiian sandals, he looked more like a pop star than a classical musician. But the New York-based German violinist is that rare musician who straddles both worlds with ease.

His first album, titled Virtuoso, has topped the classical charts and the pop charts in Germany and has been equally well received by audiences of all ages in Europe, the US and Asia.

Garrett has already performed 50 successful concerts around the world this year and is being hailed as a superstar of the future in the classical/crossover genre.

He was in Dubai for a concert at Wafi City, organised by the Rivoli Group to celebrate the opening of the region's first exclusive Montegrappa boutique in the mall and the launch of Montegrappa's latest collection of writing instruments called Genio Creativo. This series is inspired by art and the first limited edition pen in the series pays tribute to Antonio Stradivari.

Garrett was thus an apt choice to represent the spirit of the legendary lute maker at the unveiling of the Tributo ad Antonio Stradivari collection.

“I have heard a lot about Dubai and it seems like a place of the future. I am happy to perform here and hope to come back soon for another concert," said Garrett as he settled down for a conversation about his music and life as a musician.

How does it feel to be associated with Montegrappa's tribute to Stradivari?

I have been playing a Stradivari violin since I was 13, so it was natural that Montegrappa asked me to represent this creation dedicated to him.

A Stradvari creation is the most precious instrument you can play as a classical violinist and during my career I have had the privilege to play many Stradivari violins from different time periods.

The one I am playing now is from the 1700's, which was his golden period in terms of craftsmanship and sound quality and it is an honour to perform around the world in tribute to him. There are only about 280 Stradivari instruments in existence and I am privileged to own one.

What drew you to the violin?

As the younger sibling, I always wanted to do what my older brother did. So, when he was forced by my parents to learn to play the violin, I wanted to do it too. My brother was forced to do it hence he stopped playing, whereas I chose to do it and am still playing.

How did you get a chance to play a Stradivari at 13?

At 11 I played at a concert in Bonn for the German president. He put in a word for me with a family who were collectors of Stradivari instruments and they loaned me a violin from their collection.

After performing at the Royal Albert Hall, Carnegie Hall and at other grand European opera houses, how does it feel to perform in a mall?

I have often performed at such venues, especially in southeast Asia. In the end, the music is the most important thing, not the environment. Once I start playing I do not think about anything else.

What are the challenges of being a classical musician in today's world?

The biggest challenge is the travelling. I have already performed 50 concerts in different cities this year and will do another 100 by the end of the year. Being on the road almost everyday makes it difficult to find time to practise.

Has your music been influenced by your travels?

Yes, I do try to integrate music from different places into my compositions. Last year I performed several concerts in Spain and that influenced me to use traditional Flamenco music in my version of Bizet's Carmen in my album.

How do you feel about being called “the superstar of tomorrow"?

I wish I had time to think about it — but it is probably good that I don't.

What are your ambitions for the future?

I come from a very traditional classical education. So, the most important thing for me is to deliver when I perform. Everything else is secondary.

Which musicians have you been inspired by?

There are many. I have been lucky to work with most of the musicians I admire such as Yehudi Menuhin and Ida Haendel.

What kind of music do you like to listen to?

I have a broad taste in music and listen to everything from rock to r 'n' b, jazz and house music.

Tell us about your next album.

All I can say now is that I will start recording my next album soon and it will be as interesting as the first, yet different.

Pop star of tomorrow

What factors contributed to taking your album Virtuoso to the top of the classical as well as pop charts?

“The album worked because it is an interesting balance between classical tunes and familiar tunes that I have rearranged in a more contemporary way," says Garrett.

“I have also included my own versions of rock classics such as Nothing Else Matters by Metallica, some film music and Broadway tunes."


Posted by:Someone
Posting date:28.06.2008 - 09:45:16
Submitted by:Tabitha
Article date:01.06.2008
Source:click here
Subject:CD Review - Pure Ecstasy
Content:

Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Concerto for Violin and Orchestra in D major Op.35 (1878) [35.38]
Jules CONUS (1869-1942)
Concerto for Violin and Orchestra in E minor (1898) [22.57]
David Garrett (violin)
Russian National Orchestra/Mikhail Pletnev
rec. Moscow, State Conservatory, Great Hall, October 1997
DEUTSCHE GRAMMOPHON 4714282 [58:46]

This recording was released in November 2001, and is available as a CD and MP3 download from the Deutsche Grammophon website. I don’t remember much fuss being made at the time, other than that in some circles David Garrett was soon to become labelled as classical music’s David Beckham. The sultry headshots in the booklet do nothing to dispel this image, but despite destroying his valuable violin during a nasty fall at the Barbican Centre recently and being called a ‘clumsy oaf’ in The Guardian, this violinist has come a long way since then.

Something of a child prodigy, Garrett was playing solos from the age of nine, and soon became an attractive proposition for big name conductors and orchestras, recording his first DG album aged 13. He would have been around 17 when the Tchaikovsky/Conus recordings were made. The isolation which his solo career created something of a crisis in Garrett’s life not so very long after this recording was made, but I am glad to see he is now carving a healthy international career both as a soloist and chamber musician touring all over the world.

David Garrett’s playing on this recording is gorgeous throughout. His purity of tone in the upper registers is a delight, and the tenderness of the quieter passages can have a vulnerable quality which is winning, but can be quite confrontational if the emotion of the music is already too close for easy comfort. He did of course have the famous ‘San Lorenzo’ violin at his disposal at this stage in his career, and the brightness and singing qualities of the instrument suit the heart-on-sleeve musicianship of the young artist. His vibrato is intense and swift, which I much prefer to the slow sloppy variety, but it sometimes does have a width which for me can be a little over-persistent at times, though this is very much a matter for personal taste. I suppose the real lack is of any genuine excitement in the performance as a whole. There are some swathes of orchestral passagework which sound surprisingly uninvolved. The tempo of the first movement is marked Allegro moderato, but my feeling is that the ‘moderato’ gets too big a bite of the cherry.

Garrett’s own ancestry has its roots in Russia, and there is no denying his emotional connection with the music. In the booklet, he describes his sensations and feelings about performing in the Moscow Great Hall, and the experience clearly made a deep impression. The central Canzonetta certainly has a fine, poetic feel to it, and the passion I felt lacking a little in the first movement is certainly more present in the Finale. Garrett’s playing digs less deeply than some in this music, and at this stage his tone and articulation has a light, perhaps almost feminine feel to it. This I however prefer to any kind of mannered attempt to draw throaty grit from music which often has a similarly balletic feel to it as something like Swan Lake, with all its French grace and stylistic elements. That said; the Russian-ness of the music is not necessarily the foremost characteristic which springs to mind, in the solo playing at least.

Jules Conus was a composer unfamiliar to me. His original name Yuli Eduardovich Konyus betrays Russian origins, although, born in Moscow, his parents were of Italian and French descent. His Concerto in E minor is every bit as romantic as that of Tchaikovsky, and indeed owes not a little to that composer is some of the melodic shapes, and in the orchestral palette of colour and emphasis which Conus uses. There are some hints of other composers, Dvoøák and Rachmaninov to name a couple: you may have other associations, but whatever the influences this concerto is more than the sum of its parts, and has a strength of expression which is forcibly and more than convincingly conveyed by both orchestra and soloist. The piece is lacking only in the thematic distinctiveness by which the greatest concertos are often remembered – the memorable ‘hook’ which makes them a hit. You probably won’t come away humming any of the tunes after a first hearing, but I can assure you that you will be coming back to it if romantic concertos are your cup of tea. Technically the recording is of course excellent, although there is a slight drop in level just before the cadenza for some reason.

The cover art is intriguing. To me it looks as if Garrett is being beaten with a cello, with very negative results both for that instrument, and possibly for the soloist’s left shoulder. Competition is fierce in the ever-expanding world of Tchaikovsky’s Violin Concerto, and in many ways the biggest USP for this disc is the Conus concerto. With the Russian National Orchestra on its home turf in the grand acoustic of the Moscow Consevatory’s Great Hall and in good form under their founder Mikhail Pletnev this was always likely to be more than an also-ran, although this orchestra also accompanies Christian Tetzlaff on his excellent recording of the Tchaikovsky on a Pentatone SACD with Kent Nagano. David Garrett’s youthful performance may not be an absolute first choice, but if you want the Conus then you are unlikely to be disappointed by the Tchaikovsky.


Posted by:Someone
Posting date:31.05.2008 - 17:37:00
Submitted by:Heidi
Article date:31.05.2008
Source:click here
Subject:Music is my life
Content:

DESCRIBED BY the BBC’s Music Magazine as, ‘the stuff of legend - in him is enshrined an entire corpus of virtuoso violin art, expounded with a fearsome beauty beyond comprehension,’ David Garrett is one of the most celebrated violinists touring the globe today.

A pupil of Itzak Perlman, David plays to packed concert halls all over the world, features in international TV galas and was launched as an international recording artist in 2008 by Universal International/Decca, the home of classical stars Luciano Pavarotti and Andrea Bocelli.

Launched in Germany at the end of 2007 his album, ‘Virtuoso’, has already sold fifty thousand copies, topping the classical chart sand also reaching the Top 20 in the pop charts. With a string of major TV appearances and nationwide tours to come, the album will have sold 100,000 by the end of 2008 with the second album due to be launched in the autumn. Mr Garrett has also been launched by Universal in South East Asia where he reached number 3 in the local charts alongside worldwide superstars, Avril Lavigne and Mika. David’s UK launch was in March 2008. He has already played six concerts at The Royal Albert Hall, as well as appearing as a special guest on Jools Holland’s UK tour.

First concert in Dubai Brought to Dubai for a one off concert in celebration of the opening of Montegrappa, Italy’s oldest and finest pen makers at Wafi, David gave City Times an insight into his world of touring many different countries and bringing classical music to a new audience.

“This is my first time playing here,” David told us.

“It’s a short stay because I have to get back to New York to finish recording my album but it’s great to be here in Dubai.” David began playing the violin at the age of four and has never looked back. “I loved playing so much when I was young that I decided never to stop.

For me though it is not about success or the amount of records you sell.

My main aim is to open doors for people who might not have grown up listening to classical music and hopefully get them interested.

That is what I have always wanted. I want to build a bridge for everyone to enjoy great music.” Unconventional profile One might agree that David does not fit the profile of a typical classical music artist we wondered why he has chosen to present himself this way. “Well I’ve never heard that before! I am being myself, which works. I am comfortable dressed in this way and whether people like it or not I will continue to do so. Younger people can identify with me which can draw them in to the music.

But I really don’t look this way to appeal to people, just because I am myself. I have always drawn inspiration from musicians who have stepped outside the box and tried to be a little unique and do their own thing.

People like Leonard Bernstein and Fritz Keisler are idols of mine. Fritz wrote music and that is something which is very admirable and is rare today.” ‘I love what I do’ David Garrett constantly travels the world with his music performing in many countries, sometimes with only the plane journey to rest. “I have always travelled so you get used to it. It is difficult sometimes but it is life.

I love what I do and this is part of it so I just get on with it. Music is my life and the more people I can get interested in classical music the better.”


Posted by:Someone
Posting date:05.06.2008 - 10:05:11
Submitted by:Sylvia
Article date:28.05.2008
Source:click here
Subject:Rivoli Group launches the first exclusive Montegrappa boutique in the region
Content:

Montegrappa unveils the Genio Creativo collection in Dubai with violin virtuoso David Garrett live in concert.

Dubai - Rivoli GroupRivoli GroupRivoli Group has launched the region's first, exclusive Montegrappa boutique. Now open at WAFIWAFI, the Montegrappa store was launched today by Mr. Ramesh Prabhakar, Managing Partner of Rivoli GroupRivoli GroupRivoli Group and Ms. Roberta Facciano, Montegrappa's Vice President of sale and marketing, along with top officials of Rivoli GroupRivoli GroupRivoli Group and Montegrappa.

Speaking on the occasion, Mr Prabhakar states, "The Rivoli GroupRivoli GroupRivoli Group has always been committed to introducing best of luxury experiences and brands to the region. Now with this exclusive Montegrappa boutique we are glad to expand our brand offering to discerning customers who are always on the lookout for the exclusive luxury products".

To celebrate Montegrappa's new business initiative in the region and to unveil their latest Genio Creativo collection of writing instruments, international violin virtuoso David Garrett was invited to perform live in concert for a selected audience.

The young and talented Garrett is the chosen flag-bearer of Montegrappa's novel initiative - Genio Creativo Award. Spurred by its values of taste, beauty and fervour, Montegrappa initiated this international project to celebrate the essence of inventiveness with the past, the present and the future.

At the root of this artistic programme is the will to annually pay tribute to a famous figure of the past, who gave account of a real innovative turning point in his field. In drawing inspiration from the artist being paid tribute to, Montegrappa singles out a personality of the present, who is a real witness of the excellence and the values that the brand Montegrappa is proud of. With an eye for the future, this personality will in turn present an award to someone who bears the potential to become a creative genius in the same field of art.

The chosen theme for the first edition of Genio Creativo Award is music, and Montegrappa pays a tribute to Antonio Stradivari, the most distinguished lute-maker of all time. Garrett's exceptional talent as a violinist is the apt and exceptional link to Stradivari's art.

Montegrappa's latest Genio Creativo collection of writing instruments is an accolade to art. Tributo ad Antonio Stradivari is the limited edition pen with which Montegrappa initiates the Genio Creativo collection.

"Since 1912 Montegrappa has produced writing jewels that flawlessly combine Italian craftsmanship with the finest materials. Montegrappa has identified an exciting market for our products in the region and the immense potential of growth for our brand here has instigated us into opening this exclusive Montegrappa boutique. With this business initiative we hope make our presence felt in a bigger way in this flourishing luxury retail market. We are glad to be partnering with the Rivoli GroupRivoli GroupRivoli Group as they have in-depth understanding of the consumer & market which also backed by an exemplary efficient retail operation which is in line with best international practises." says Facciano.


Posted by:Someone
Posting date:11.05.2008 - 07:49:11
Submitted by:Tabitha
Article date:11.05.2008
Source:click here
Subject:Violinist David Garrett on Sarasate’s Zigeunerweisen - Going for a song
Content:

Take a look here to the original article

How can one relatively obscure piece of music change the course of someone’s life? Well, Zigeunerweisen (Gypsy Airs), by the 19th-century Spanish composer Pablo Sarasate, has changed mine more than once. The first time was when I was nine. I was a child prodigy, being pushed by my parents, like so many kids, to play a musical instrument. In my case, the pushing was extreme and involved practising seven hours a day, so much of my time was spent alone. I was living with my family in the small town of Aachen, Germany, so it was a big deal to be asked to go all the way to Hamburg to audition for the Hamburg Symphony Orchestra.

Naively, I chose what I came to realise was a very complicated and challenging piece of music - the joy of being a fearless child! On the positive side, for a violinist it has everything - fun, passion, romance, excitement - all rolled into one piece, and demands real virtuosity. On the other hand, I was nine. Even at nine, though here was my chance, risky as it was, to show off to the max.

I must have done it justice, because I was chosen to play as a soloist with the HSO, one of the most revered orchestras in Germany. This led to my being the youngest person ever to be signed to Deutsche Grammophon, the prestigious classical record label. Just as importantly, I found my life partner: Zigeunerweisen. She and I would never be parted. I have taken this piece, and vice versa, all over the world. I have played it in concert halls in front of thousands, small clubs with my band in front of hundreds, and most intimately, and passionately, in front of an audience of one.

Sarasate was famous for playing his violin without having his chin on the chin rest and always smiling as he played. I often do the same. He was a maverick who enjoyed life, women and crazy stuff, and he lived for his music. He is my role model, I can totally identify with him and his style. His piece defines me as a musician and as an entertainer. If I, as a nine-year-old, could be touched, even consumed, by it, I reasoned that this piece of music could engage people all over the world. I wanted to show audiences, especially young people, the passion, fun, drama and excitement that I felt as a child, and which I feel every time I hear it or play it.

It seems to be working. Last year, I was invited by the concert producer Raymond Gubbay to play at the Albert Hall, always a dream of mine. What better place to take my life partner, Zigeunerweisen, and show her off? I wasn’t going to miss this opportunity to see if we could cast our spell over a crowd.

So, I asked Raymond if I could play the piece in the audience. Raymond, being a showman, was a ready accomplice. We agreed that I would start at the back of the hall, with one spotlight capturing the drama of the start of the music. Then, as the piece unravelled, I was able to walk around the Albert Hall and through the audience, stopping every now and again to serenade someone who took my eye. It did the trick. Faces lit up.

Since then, I have played the piece to unsuspecting audiences in classical halls and rock venues, always with the same effect. It is a challenging piece to play - and probably to listen to - but my mission was to see if it could touch others the way it touched the nine-year-old me. It even touches audiences of one - in my private life, my Zigeunerweisen and I have been involved in threesomes.

David Garrett’s latest album, Virtuoso, is out now; he plays at the Classical Brits, shown on ITV1 on Thursday. www.david-garrett.com


Posted by:Someone
Posting date:04.05.2008 - 08:06:19
Submitted by:Tabitha
Article date:03.05.2008
Source:click here
Subject:41 FERIA DEL LIBRO41 FERIA DEL LIBRO
Content:

David Garrett ofrece un concierto en el Festival Internacional de Música junto con Daniel GortlerUn jardín de bolsilloEsquivias se «desnuda» para mostrar su Burgos natal en 'La ciudad de plata'Serrano destaca el poco arraigo del liberalismo y el gran peso de la Iglesia en la Castilla del XIX

Interpretarán obras para violín y piano de Beethoven, Grieg y Sarasate Biografiados y autores arroparon la presentación del tercer volumen de 'Personajes vallisoletanos', que traza la semblanza de 24 personalidades de la vida en la ciudadEl catedrático de Historia Contemporánea de la UVA presentó ayer 'Castilla la Vieja y León 1808-1936'

----------------------------

El violinista David Garrett y el pianista Daniel Gortler ofrecen hoy el segundo concierto del VII Festival de Música de Castilla y León. Tendrá lugar en la Sala de Cámara del Centro Cultural Miguel Delibes de Valladolid, donde interpretarán un programa que incluye en la primera parte dos obras de Beethoven, 'Sonata para piano y violín nº 10, en Sol Mayor, op. 96' y 'Romanza para violín y orquesta en Fa Mayor, op. 50' en la versión de Joseph Joachim para los dos instrumentos.

Grieg, con su 'Sonata para violín y piano nº 3, en Do menor, op. 45', y Sarasate, con 'Zigeunerweisen (aires bohemios), op. 20', protagonizarán la segunda parte del concierto.

Después de unos años sin actuar, David Garrett volvió en el 2007 a las salas de conciertos y desde entonces ha recorrido varios países europeos, además de Brasil y Japón, con orquestas como la Nacional de Lyon o la Filarmónica de Luxemburgo. El pasado febrero acompañó a la de Cámara de Israel en una gira por Estados Unidos.

Además, el artista, que acaba de grabar un disco para Decca, 'Free', en el que ha incluido composiciones personales de piezas y melodías que han marcado su vida', suele colaborar con pianistas, entre ellos el israelí Daniel Gortler, quien ha tocado como solista con numerosas orquestas.

Gortler, que se dedica también a la música de cámara, debutó en Nueva York en 1998 y ha grabado varios discos. El actor Emilio Laguna recordó unos versos de Gabriel Celaya para demostrar que los 24 'Personajes vallisoletanos' que incluye el tercer volumen de la colección editada por la Diputación son artistas. Y lo son, afirmó el intérprete, «porque su obra llega a los demás, a los que ofrecen algo bello». Aclaró después que hay muchas maneras y muy diferentes de hacer arte y demostró el suyo al contar con humor una anécdota de su vida sobre el escenario.

Recordó Laguna su Valladolid de siempre, a la que quiere volver definitivamente. Por eso, como en la canción de Jorge Negrete, pidió que cuando le llegue la hora en cualquier lugar del mundo, «que digan que estoy dormido y que me traigan aquí».

El actor es uno de los personajes del libro y el único que ha escrito de sí mismo, porque dice -con razón- que es quien mejor se conoce. Otro de ellos es Luis Miguel Enciso, historiador, profesor y académico, quien, también en nombre de todos ellos, afirmó que el volumen traza la historia de la ciudad a través de las personas. «Qué gente tan diversa los representantes del alma y el cuerpo de Valladolid», dijo, para explicar luego que la primera «es reirse de sí misma y después ofrecerse a los demás»,

Añadió Enciso, cuya biografía ha trazado Luis Ribot, que Valladolid representa la síntesis de los castellano y leonés, «la esencia de las Españas», y que su historia es universal, «un hito en Europa y el mundo». Recordó que la vida son diez minutos, seguidos de otros diez, temporalidad y eternidad, y manifestó su orgullo de ser vallisoletano, «como tributo de amor y entrega a esta manera de ser».

More about this festival


Posted by:Someone
Posting date:01.05.2008 - 14:19:43
Submitted by:Tabitha
Article date:01.05.2008
Subject:Classic FM Magazine - Original Article
Content:

Original Article


Posted by:Someone
Posting date:08.10.2008 - 09:00:26
Submitted by:Nyah
Article date:01.05.2008
Subject:Middle East Chats
Content:

Middle East Chats - May.2008 - Original Artikel from Dubai!
(Attention: 10MB to load!!!)


Posted by:Someone
Posting date:07.06.2008 - 06:12:31
Submitted by:Sylvia
Article date:22.04.2008
Source:click here
Subject:Acclamations for Macedonian Philharmonic in Novi Sad
Content:

“Macedonian Philharmonics is a true refreshment for our festival. The orchestra and the conductor are excellent, and violinist David Garrett is magical.” Audience in Novi Sad greeted the concert of the Macedonian Philharmonics under the baton of Borjan Canev on Saturday evening with frenetic applause. The concert was held at the magnificent Sinagogue Hall as part of the traditional Novi Sad Music Ceremonies (NOMUS).
This has been the third visit of Novi Sad by the Macedonian Philharmonics in the past decade and comments by regular visitors of NOMUS and music critics in Novi Sad after the concert were mainly that the Macedonian Philharmonic Orchestra had reached an audio level that impressed. A motivation more for the Macedonian musicians to present themselves at their best was the fact that they knew who was going to listen to them. Citizens of Novi Sad are known for their tradition which they cherish towards music art in general and mostly towards classical music.
The concert was the eight event within the 28th NOMUS held under the motto “Find Out Music,” which is closing on Thursday with “Les Miserables,” the production of the Madlenianum Opera and Theatre. The leading part in “Les Miserables” is performed by Macedonian-born Zafir Hadzimanov. NOMUS Executive Director Milan Radulovic said the festival was honoured to have the Macedonian Philharmonic in its programme. “I have to say that it is enormous pleasure to have the Macedonian Philharmonics performing within our festival, for the third time,” he said.


Posted by:Someone
Posting date:30.04.2008 - 21:55:10
Submitted by:Tabitha
Article date:16.04.2008
Source:click here
Subject:Violeta Urmana y David Garrett, entre otros, protagonizarán en mayo el VII Festival Internacional de Música de CyL
Content:

Cinco de los siete conciertos programados tendrán carácter "único y exclusivo" en España VALLADOLID, 16 (EUROPA PRESS) - Las sopranos Violeta Urmana y Waltraud Meier así como los pianistas Jan Philip Schulze, Daniel Gortler, Josef Breinl y el violinista David Garrett, además de los españoles Miguel Baselga e Ignacio Encinas, protagonizarán este año la VII edición del Festival Internacional de Música de Castilla y León, que se celebrará entre el 2 y el 23 de mayo bajo el título 'Referencias'.

Así el programa, diseñado por la Asociación Cultural Salzburgo y que se desarrollará en Valladolid, León y Madrid, comenzará el día 2 de mayo a las 20.00 horas en el Centro Cultural Miguel Delibes de Valladolid con el recital exclusivo en España de la soprano lituana Violeta Urmana, quien acompañada al piano por Jan Philip Schulze interpretará obras de Berlioz, Verdi y Puccini.

El Festival continuará el sábado 3 de mayo con otra actuación "exclusiva" que, en esta ocasión, estará protagonizada por el joven violinista David Garrett, presentado en España en 1997, cuando tan sólo tenía 17 años, y que acercará al público un concierto "memorable", según el organizador, José Antonio de Miguel, en el que se rememorará a Beethoven, Grieg y Sarasate.

El tercero de los conciertos que tendrá lugar en el Miguel Delibes se celebrará el viernes 9 de mayo y llegará de la mano de la soprano Waltraud Meier, considerada "la voz wagneriana más importante del mundo", según De Miguel, y del pianista Josef Breinl, con quien interpretará a Schubert y Richard Strauss.

La segunda parte del programa trasladará el Festival al Auditorio de la Feria de Muestras de Valladolid, su escenario habitual, por el que en esta ocasión desfilarán, el día 10 de mayo, el pianista español Miguel Baselga, quien acercará al público piezas de Soler, Haydn, Schubert, Liszt, Mateo e Isaac Albéniz y Ravel, mientras que el sábado 17 de mayo será el turno para el tenor castellanoleonés Ignacio Encinas, quien interpretará en exclusiva en España ópera y canciones populares italianas acompañado por el pianista Tulio Gagliardo en un concierto denominado 'Pavarotissimo'.

El día 23 de mayo el escenario cambiará de nuevo y el Festival hará una incursión en el Auditorio Nacional de Música de Madrid, donde la Orquesta Sinfónica Junge Philharmonie de Salzburgo, dirigida por Elisabeth Fuchs, interpretará obras de Mozart en un concierto especial de promoción exterior del Festival de Salzburgo en el que se conmemorará, además, el 100 aniversario del nacimiento de Herbert von Karajan.

El programa del Festival, que cuenta con una aportación de 18.000 euros por parte de Ayuntamiento de Valladolid y de 30.000 de la Fundación Siglo de la Junta de Castilla y León, concluirá en el Auditorio Ciudad de León, una "infraestructura magnífica", según De Miguel, donde el pianista alemán Severin von Eckardstein, que "no se prodiga mucho en España", ofrecerá un repertorio "único y exclusivo en España" compuesto por piezas de Haydn, Schubert y Scriabin el día 28 de mayo.

El precio de los abonos para los tres conciertos que tendrán lugar en el Centro Cultural Miguel Delibes de Valladolid es de 81 euros mientras que las localidades saldrán a la venta al precio de 30 euros en el caso de este espacio, 20 euros en los Auditorios de la Feria de Muestras de Valladolid y de León y de 40 euros para el Auditorio Nacional de Madrid.

Durante la presentación del Festival, acto al que acudieron la directora general de Promoción e Instituciones Culturales, Luisa Herrero, y la concejal de Cultura, Comercio y Turismo de Valladolid, Mercedes Cantalapiedra, José Antonio de Miguel aseguró que bajo el título 'Referencias', "bastante significativo y sugerente", se desarrollará un Festival con características "especiales" que busca "sumarse" a la oferta de música clásica ya existente en la Comunidad.

Asimismo y en su búsqueda de la consolidación, esta cita cultural se ha promocionado ya en el Festival Salzburgo, el "más importante" de Europa, y se espera que próximamente pueda ser difundido también en el de Lucerna aunque, hasta ese momento, se han repartido ya 10.000 programas entre los asistentes al Auditorio Nacional de Música y el Teatro Real de Madrid, de donde llegarán al menos dos autobuses.


Posted by:Someone
Posting date:23.04.2008 - 19:25:34
Submitted by:Sylvia
Article date:15.04.2008
Source:click here
Subject:Exclusive Evening with Violinist David Garrett
Content:

(Vest, 15.04.2008) - Macedonian Philharmonic announces 26-year-old US violinist David Garrett as an exclusive guest at Thursday’s concert. Concert for violin and orchestra by Edward Elgar will be performed in Macedonia for the first time.
David Garrett was called a wunderkind, signing his first contract with “Deutsche Gramophone” at the age of 13. He recorded concerts of Mozart, Tchaikovsky, as well as editions with soloist music for violin. He completed his studies in the class of Itzhak Perlman at the Julliard School in New York. Garrett is currently working with publishing house “Decca”. His wish to bring classical music closer to young people has resulted in CD “Free”, which contains compositions and arrangements of classical pieces, created by the violinist himself.


Posted by:Someone
Posting date:05.04.2008 - 09:15:03
Article date:04.04.2008
Source:click here
Subject:ClassicalX interview with David Garrett
Content:

He may be known as the David Beckham of the violin by the media but David is firmly focused on his music rather than his image. We joined him for a quick chat to find out more.

As a child prodigy who has been playing the violin from such an early age did you ever resent having to be so disciplined and practice when others your age had much more freedom?
Sure I did, When I was a teenager. These days I see it as a blessing in disguise. I have to do less work because I worked very hard as a kid.

You made many recordings as a child, how does it feel to listen to those now?
Honestly, I am really amazed by how good they are, and wonder how I did it!

Up until the age of 14 you say you had been immersed totally in classical music, what changed that and which musical influences did you discover?
I always enjoyed other music as well, I just didn’t get time for it. I guess the time when I really got into rock and R&B was in New York, studying at Juilliard School.

Is it true you were expelled from the Royal College of Music in London?
Well expelled wasn’t the official term… It was mutually agreed that me and the RCM were going separate ways after the first semester. I did skip some lessons – but I also broke in to do extra practice, so that didn’t help!!

What made you decide that Juilliard in New York was the school for you, it must have been a little daunting moving all the way to New York to study.
I always loved NY. The thing that made me go to Juilliard was definitely the chance to study with Itzhak Perlman.

Wasn't it while you were a student there that you started modelling for magazines like Vogue and labels such as Armani, how did that come about?
Very early during my time in NY. I got scouted on the street and in clubs. I chose the best agency and started working part time.

You recently confessed to damaging your precious violin, that must have been heartbreaking?
Well it wasn’t something I did on purpose! It was definitely heartbreaking.

How have you found it adapting to play the Stradivarius you are using at the moment?
It has not been difficult. I actually enjoy the Strad I am playing right now very much. A lot of practice helps!

Your most recent recording 'Virtuoso' has a very modern, contemporary edge to it - how much influence did you have on the direction the album took?
100% - I have to love the tunes, and I know how I want them to sound.

Your looks bring you as much attention as your talent as a musician, does that bother you or are you happy to be the one breaking the conventional image perception of Classical musicians?
It is all for the music. If the media wants to focus on my looks, that’s fine, but I will always focus on the music.

David's latest album 'Virtuoso' is available now.


Posted by:Someone
Posting date:10.01.2009 - 07:15:26
Submitted by:Maya
Article date:01.04.2008
Subject:David Garrett - über sein Leben in Hotels
Content:

Original Article


Posted by:Someone
Posting date:29.03.2008 - 07:51:17
Submitted by:Tabitha
Article date:29.03.2008
Source:click here
Subject:How David Garrett survived life as a child prodigy (incl. pics)
Content:

Click for original article incl. photos

David Garrett – marketed as the Becks of the classical world – talks about surviving life as a child prodigy

His publicist is in defensive mode when I arrive. “David [rarely will you meet someone bearing the name who is so clearly not a Dave], you gave me just an hour’s notice and it was a Thursday night.” In response there’s the shrugging off of a jacket, leaving broad, bare shoulders exposed, and the raking of a hand through dirty-blonde hair: “But I had this totally hot babe hanging on my every word and the place she wanted to go to was Mr Chow [the Knightsbridge restaurant]. When you couldn’t get us in, she bailed on me.” So saying, the classical violinist with the rock star looks leans forward to examine his face, from a variety of angles, in the dressing room mirror (it seems to meet with his approval).

“Sounds like a nice girl,” I think to myself, hovering in the doorway of this West London photographic studio as the dialogue unfolds. But David Garrett isn’t really put out, nor his PR in trouble: it’s kind of a given that some other hot babe will happen along in a minute. For even in this age of sex selling everything, the Radio 3 playlist included, it’s unusual to find a performer so secure in their own sheer gorgeousness as this 26-year-old. Here he is now, wheeling round to view digital images from the ongoing shoot. “You look great,” it occurs to me to say by way of introduction, having stepped forward to peer over his shoulder. But no. The words would be redundant. He simply isn’t in any doubt.

Not that there’s an unpleasantness about him: Garrett is intelligent, says his Pleases and Thank Yous, knows when to deploy a winning smile. But he also radiates the confidence of one who is used always to being the focus of whichever room he is in, this because he is both extraordinarily talented and also a bit (OK, a lot) of a head-turner. How perfect, then, that while studying under the great Itzhak Perlman at Juilliard in New York, he supplemented his income and fed his ego by modelling for print and runway, twice being booked for Fashion Week, on one occasion by Giorgio Armani.

“I enjoyed it,” he says of the whole clotheshorse experience. “There were an awful lot of very beautiful women around, which is something I’m always very enthusiastic about [here he gives a man-to-man wink]. And because no one knew what I did and they all looked on me as just another face, it was very flattering. I found I liked getting attention for me as a person, not just for the violin. Plus, having been used to being on stage from an early age, it wasn’t a problem for me to connect with a lot of people. I’m not shy and found the work easy and pleasant.” And its legacy is the practised way in which he interacts with our photographer, constantly throwing shapes. “Good?” he asks several times, but rhetorically.

The descriptive shorthand most often used by those reporting on the phenomenon of the younger Garrett was, inevitably, “child prodigy”. Sixteen years on from his public performance debut, his upper lip curls derisively on my repetition of the words. “How I hate that term,” he says, between mouthfuls of salad. “It makes it all seem happy, light and effortless. But the fact is no one would buy a ticket to see a child play if they knew what was happening behind the velvet curtains. To say you would is to be ignorant of the sacrifices required. It’s to overlook the way in which they’re pushed by their parents and tormented by their teachers. It’s to deny the mental fallout from so much pressure at too young an age.”

A kind of slavery, then? “In a way. Sometimes more so, sometimes less. What I’m saying is that I’ve met an awful lot of fantastically talented young musicians, but that I have never ever met a prodigy. Of course, they each had the innate talent and physical ability. But it’s no accident that they also have that ease on stage, that huge memory capacity for the music, and the mind-to-hand coordination. They have all those things precisely because they’ve been encouraged to be driven and disciplined throughout their short lives, in a way that is not always healthy for them.” And Garrett is not speaking purely objectively. When he describes his own boyhood, the word that springs most readily to mind is “Childline!”

Born in Aachen, Germany’s most westerly city, to a lawyer father and his American wife (“Trusting in my talent, they made the decision early that I should use my mother’s surname professionally, it being so much easier to pronounce”), he first picked up a violin aged 4. By 5, he was being taken across the border to Holland each weekend to study with his first teacher. By 7, and for the next 3 years, the commute was to the north German port of Lübeck and a different tutor (“A 6-hour journey on a Thursday evening, then the same home again on a Sunday night”). By 10, he was performing with the Hamburg Philharmonic and by 12, had signed to Deutsche Grammophon (DG).

“Unlike my brother, two years my elder, I didn’t go to a normal school but was home-tutored. That, and the fact that I was travelling so much, meant that I didn’t have anyone to play with, didn’t have friends, was pretty much isolated from peer company. To start with and because it was all I knew, I didn’t complain. Only when I was older and began to compare my life with what appeared to be the normal childhoods of those around me did I start to take issue. Looking back, there was a tremendous amount of pressure on me, but I’ve grown out of wanting to make my parents feel guilty. They know themselves they made a million mistakes and we’re reconciled. If I lived in the past, I couldn’t have fun today.”

Garrett admits that his father had himself entertained dreams of being a violinist. “It sounds so stereotypical, doesn’t it? But I wouldn’t say he was living vicariously through me. I think he – they – just thought I had a talent which should be progressed, and that a musician’s life would be good for me.” Over time, however, an increasing awareness of his own gift brought a degree of self-confidence. “I didn’t like to fight with my dad, but here was someone trying to tell me how to play a passage – ‘Use a wider vibrato. More bow! Less bow!’ – when he couldn’t do so himself. I soon realised I was superior to him. I’d probably been superior from the age of 6. It was inevitable there’d be differences of opinion.”

Meanwhile, and to offset the costs of tutelage/travel, there were concerts (as many as 90 a year and all over the world, from South America to Russia) and those recordings for DG. “I suppose it was only fair,” he says of this. “They [his parents] didn’t want to pay for it all out of their own pockets.” But coinciding as it did with his own entry into adolescence, Garrett found the schedule simply too draining, too demanding. “Because in addition I was having to practise for seven or eight hours a day at a time when my body was growing… I made mistakes physically and for a period of about four years was pretty much in pain when playing. That took any last fun away. I almost came to despise the violin.”

Ironically, though, one celebrated name after another was speaking of his potential greatness. Said the conductor Zubin Mehta, “I’ve watched David’s development from the age of 11 and he is surely going to have a resounding presence in the musical world of the 21st century.” And the violinist Ida Haendel, one of his tutors during this time: “He’s a wonderful player with excellent technique and natural musicianship.” Yehudi Menuhin, with whom he played when just 12: “His performances are totally wonderful.”

But more even than growing pains, it was the issue of control – of who had it – that was responsible for Garrett’s unhappiness

"I felt that the life I was living wasn’t my decision, which is a tough cookie to chew on. There was this whole machinery of people dependent on my playing well, and I didn’t like it.” Irrespective therefore of the praise being lavished upon him, he came to realise that being able to carry on with a musical career was dependent on his falling back in love with his instrument (by then, a Stradivarius from 1710 offered to him by an unnamed admirer). And the only way to do that seemed to be by achieving distance and independence.

A first shot at escape went off half-cocked. On visiting it as a child, he had been enthralled by New York. But his parents dismissed it as being too distant as a place of study (this while funding his brother through Harvard) and insisted he enrol aged 17 at the Royal College of Music in London. “So many things fail because you’re not committed to them, and that was a case in point,” he says (he dropped out within months). “London didn’t offer enough geographic distance. My folks were still just a Eurostar ride away.”

Eighteen months later, after travelling to Manhattan on the pretext of visiting his brother and having arranged secretly to audition for the admissions board while he was there, Garrett presented his father and mother with a fait accompli: he had been accepted on a three-year course at the Juilliard School of Music. How did they receive the news? “Not too well. Let’s just say that I paid for all the costs of it myself.” Finally being in the city and institution of his own choice, he re-engaged musically and indeed blossomed, helped greatly in the latter respect by his tutor there, the aformentioned and celebrated Israeli-American Perlman.

“Normally the teachers have between 40 and 50 students each, but due to his reputation he was able to work with just three or four. That he chose me was honour enough, but I was luckier still in that he had a shoulder injury at the time and for a year and a half was unable to travel or play concerts – I could never normally have expected to see him on such a regular basis. And he is an amazing, very inspiring man, a free spirit. Ninety-five per cent of all violinists sound alike these days because everyone’s trying to repeat some formula that’s been successful in the past. But he encourages his pupils to develop that which is unique to them and taught us never to copy anything or anyone else.”

In New York, Garrett grew into his own skin on a personal level, too. It doesn’t appear that he was ever lacking in physical confidence, but the frequent approaches of modelling scouts when he was out and about on the streets certainly helped consolidate his sense of self. A change of hair colour worked for the ladies, too. So when I remark that it must have been difficult for a handsome 19-year-old newly set free in the big city to resist the lure of sex, drugs and rock’n’roll, he laughs broadly. “I’ve seen it all. Was it easy to say no? I didn’t try. I’d hold things together when I was studying, but as soon as I got a weekend off… You need to get things out of your system. To cage yourself indefinitely is not good.”

Four years on from graduation, and with his recording and concert schedule back at full pelt, he no longer allows himself such licence. “To do my music at the appropriate level I have to be physically healthy and my mind totally clear on stage. OK, I’m not a total saint and will binge once in a while when I have time off. But basically I had to make a decision: party my life away or be a world-class violinist? I chose the latter.” He continues to base himself in New York, a city which he says has all the things he loves, “from art and great architecture through to fashion, parties and amazingly fabulous girls. Unlike in Europe, you can do pretty much whatever you want, whenever, and I find that very appealing.”

Inevitably, given he is such an irresistibly saleable package, there is now a crossover album, Virtuoso, one that finds him applying that Strad and that undeniably awesome technique and interpretative ability to material ranging from Bernstein to Metallica. And no surprises that the promotional campaign presents him as the Beckham of the violin. “But this is just a side project to the main event,” he insists. “Of course, I hope it will be successful, but my biggest pride is in performing the great composers. I want to use it as a hook with which to drag new audiences into my classical concerts.” Saying which, he checks his reflection in an adjacent window, and then gives a killer smile. Still looking good…


Posted by:Someone
Posting date:22.08.2008 - 10:37:34
Submitted by:Someone
Article date:23.03.2008
Source:click here
Subject:Virtuoso - CD Review UK
Content:

This album from popular violinist David Garrett showcases his talents by including melodies from a variety of genres and eras over fourteen tracks. The source of each track isn�t necessarily classical, but he manages to re-imagine some well-known tunes for the violin. Whether or not you enjoy this album will depend on the level of your pleasure in the sound of the violin: that most melancholy and sonorous of stringed instruments that always manages to cut its way through a full orchestra and demand your attention.

Garrett starts with La Califfa, based on the film score by legendary composer for the big screen Ennio Morricone. It�s certainly a beautiful piece and creates the right balance that Garrett is striving for throughout Virtuoso of creating a beautiful classic sound through a modern or distinctive source. This is followed by Carmen Fantaisie from Bizet�s opera which separates the two strands of the melody between flamenco guitar and violin, which works surprisingly well. The next track is an odd one, Nothing Else Matters, originally by heavy metal band Metallica. Its inclusion may be intended as a demonstration of the possibilities of the violin but after the melodious build to the chorus the track peters out into a no-man�s land of not satisfying the original material or making it into something else entirely; and as such is forgettable.

Rather better is Duelling Banjos, which, despite its jolly undercurrent can only ever be heard as a signifier of the sinister to anyone whos seen the film Deliverance. The alternative name given here of Duelling Strings indicates that here it is re-imagined as a musical duel between plucked violin and guitar that builds to an electrifying climax. Inescapably the music of the deepest Southern States but on this occasion Garrett is able to transcend the source material and offer something unique.

From the classical pieces included on the album, Pachebel�s Canon is a standout. The slow, melancholy melody suits the violin, and Garrett�s performance, with the luscious arrangement, is sure to please. Another classical highlight is Paganini Rhapsody Caprice 24, which inspired Rachmaninovs famous Rhapsody on a Theme of Paganini. Here the melody is still as distinctive on violin and with another excellent accompaniment is one of the highlights of the album.

Less welcome is the ever-tedious You Raise Me Up which has been covered by just about every bland populist act and is a favourite of the television talent contests. It usually smacks of desperation and dearth of imagination and it�s a shame its included here for its crowd-pleasing effect as Garrett is much better than this simple and repetitive song. The popular Bernstein hit Somewhere, from the musical West Side Story is a much better choice and gets the album back on track. Another highlight is a version of Rimsky-Korsakov�s The Flight of the Bumble Bee. It�s frantic, unremitting pace produces an electrifying effect, and Garrett�s performance of it has the required sparkle and lightness of touch to make it special.

Saving his own music until the last few tracks of the album, Garrett�s self-composed Serenade, Toccata and Eliza�s Song are not out of place surrounded by the traditional and modern classics, and demonstrates Garrett�s innate musicality as well as appreciation of the violin. The first is a bittersweet lament in a classical style; where Toccata is grounded in rock and much more up-beat. Eliza�s Song is the other side of the coin to Serenade. Hopefully as he matures as an artist more of Garrett�s own work will appear on future albums.

Overall this is a stylish and musically strong album that shows the versatile violin holding its own as the main source of melody in a variety of genres; played by the musical showman David Garrett. It is only the inclusion of a few bland populist choices that lessen the artistic integrity of this album. I believe Garrett has the talent and the fan base to not worry about putting crowd-pleasers that don�t belong on his albums as there is no doubting that he is a world-class violinist. His sell-out concerts should ensure faith from record companies that his albums will sell well and that he continues to build a name for himself and a devoted following.


Posted by:Someone
Posting date:25.03.2008 - 19:09:34
Submitted by:Sylvia
Article date:22.03.2008
Source:click here
Subject:David Garrett Exclusive [incl. audio interview!]
Content:

David Garrett is certainly living up to the title of his new album, 'Virtuoso'. Dubbed the 'David Beckham' of the classical world for his resembling looks and natural talent, David Garrett has become an international star, performing solos alongside some of the world's leading orchestras and conductors.

Listen to the David Garrett interview here

It is not only his talent which has launched David into the public eye. An unfortunate post-concert accident last December left his beloved 1718 Stradivarious violin in pieces at a cost of £60,000 to repair.

However the show must go on and in an extraordinary twist of fate, David has been bombarded with offers to lend him other existing Stradivarious violins whilst his remains in the work shop.

As David explains, the experience has somehow been 'a blessing in disguise.'

CFM: So....how's the violin?
Right now it’s in the emergency room in New York, they’re trying to revive it constantly. There’s no saying if they’re going to succeed or not. I'll keep you posted.

CFM: What has it been like playing the different Stradivarious violins?
I almost want to say it’s more fun playing a different Stradivarious every week than having just one. I was saying to my manager earlier, by the end of my life I just want to be known as the person who played every single Stradavarius in existence. No really, it has been a wonderful experience, somehow a blessing in disguise. I mean of course at some point you can’t be depressed anymore about it and have to see the good side and the good side definitely is that I’ve been playing on at least seven or eight wonderful Stradivarius since it happened and they’re all very nice. I’ve a wonderful Stradivarius from 1703 with me now which I'll enjoy playing for the next few weeks then I’m pretty much onto the next one!

CFM: What is the theme or inspirations for your new album Virtuoso? Was there anything you particularly wanted to achieve?
DG: The most personal message of the CD obviously is to reach out to younger audiences. The whole balance of the programme is to reach out to a wider audience preferably the younger kids. I just wanted to create a young, fun album that opens doors.

CFM: A number of the tracks on the album you composed yourself. Is this an area of your music career that you'd like to develop further?
Writing and arranging music is something I’m certainly interested in. It gives me more of a challenge when I’m doing an album, but I see it as more of a hobby, it comes in very handy when you do such a project. We’ll see I don’t know how much of a talent I have, I’ll just go with the flow and hopefully people enjoy what I’m doing.

CFM: What are your ambitions for the future?
I really love to just live day by day. What I like to wake up in the morning, have someone hand me a schedule and go by the hour what is coming up next. Everybody who works with me will tell you I absolutely don’t want to know what I’m doing tomorrow, simply because if I know what I had to do in the next few months I couldn’t sleep. I just really want to be blissfully ignorant to what is happening. If I was to know I’d be too worried.

Virtuoso will be released in the UK on 24th March. Each of the tracks have been personally selected by David, ranging from classical favourites such as Pachelbel's Canon to contemporary pieces that he has written himself especially for the album.

We have five copies of Virtuoso to be won. For a chance of winning, simply answer the question and submit your details below: Click here


Posted by:Someone
Posting date:23.03.2008 - 19:42:57
Submitted by:Sylvia
Article date:20.03.2008
Source:click here
Subject:[CD Review] David Garrett - Virtuoso
Content:

HE’S been dubbed the David Beckham of the violin and, to be fair, the cover shots do little to suggest that violin sensation David Garrett is unhappy with that tag. But while Beckham dazzles with his feet, Garrett is all about his fingers and Virtuoso is a masterclass in classical music, made appeal-worthy to the masses.

Part maverick, part genius, total virtuoso, the 25-year-old Garrett has released the LP to reflect the various musical tastes that have come to inspire him, whether its through his own interpretations of popular classics such as Carmen and Paganini, or classic film themes, including Morricone’s La Califfa ot Bernstein’s Somewhere.

No matter what he’s playing, though, Garrett excels and the best thing that can be said about the album is that it’s fun and capable of a much wider appeal than just fans of classical music.

Take his brilliant interpretation of Carmen Fantaisie, with Paco Pena, that’s a firm album highlight; one that’s delivered with plenty of South American passion, as well as a vibrancy and enthusiasm that’s utterly addictive.

Likewise, the fun, frivolous Csardas – Gypsy Dance, which begins slow, only to set a lovely pace that’s evocative of Hungarian travellers dancing over camp-fires.

Duelling Banjos, meanwhile, is an absolute romp – a virtuoso game of musical one upmanship between a flamenco influenced acoustic guitar and Garrett’s own dazzling violin. Early on, it’s particularly playful and prone to delivering much delight, before going utterly nuts for the frenzied, almost moonshine middle section.

It’s moments like these that ensure the album catches you off guard and fall for its charms, no matter how sceptical you may have been in the first place.

But as energetic and lively as Virtuoso can be, there’s also moments of serene beauty, in which Garrett’s violin positively weeps. Album opener La Califfa, from Morricone, is both cinematic and breathtakingly beautiful, while his version of Pachelbel’s Canon is a virtual masterclass.

Paganini Rhapsody will, of course, be familiar to anyone who watches The South Bank Show – and delights for exactly that reason. While Somewhere is terrific for lazy, hazy Sunday afternoon listening and an exquisite interpretation of the West Side Story classic.

And let’s not forget Garrett’s thrilling delivery of The Flight of The Bumble Bee which is as brilliant in CD form as it’s said to be live.

There are moments, late on, when the album loses momentum – his version of You Raise me Up felt a little overwrought to this particular listener – while some of his own compositions, such as Eliza’s Song and Toccate, take a little more getting used to. But they continue to underline just how talented the guy is.

And he’s been surprising people since before he was four-years-old, when his father first gave him a violin because he was having a tantrum caused by the fact that his older brother had a violin teacher. Without any lessons, the toddler picked it up and began playing.

Fast forward just four years and David was already one of the foremost violinists in the world working with the most celebrated teachers and performing solos with legendary orchestras and conductors.

With his natural talent, the input of the finest music teachers in the world and a spirit unusual in the sometimes fusty world of classical music, David has never looked back and has been able to command audiences with Popes, princes and presidents (the German President saw David when he was just 11 and was so impressed he actually set about securing him a priceless 1718 Stradivarius: “I used to leave violins on buses and in hotel rooms when I was younger, but not this one”)…

If you haven’t had chance to hear him already, then Virtuoso offers the perfect place to start.

Downloack picks: La Califfa, Carmen Fantasie, Csardas – Gypsy Dance, Duelling Banjos, Somewhere (West Side Story), The Flight Of The Bumble Bee, Pachelbel’s Canon, Paganini Rhapsody

Track listing:

La Califfa
Carmen Fantasie
Nothing Else Matters
Csardas – Gypsy Dance
Duelling Banjos
Pachelbel’s Canon
Paganini Rhapsody
Somewhere (West Side Story)
The Flight Of The Bumble Bee
Serenade
Toccata
You Raise Me Up
Eliza’s Song


Posted by:Someone
Posting date:15.03.2008 - 09:09:42
Submitted by:Tabitha
Article date:14.03.2008
Source:click here
Subject:David Garrett Releases debut album Virtuoso
Content:

He has already been dubbed the David Beckham of the violin, but this moniker isn’t just about his looks, it’s also a reference to the sheer dedication and hard work since the age of nine that has resulted in David Garrett becoming one of the finest players of his generation. Like Mr Beckham he enjoys international success, with album sales and sold out concerts across the globe.

David Garrett personifies the word ‘virtuoso’ , although he is just 26, he has been performing publicly since the age of ten with the Hamburg Philharmonic, then at twelve with the legendary Yehudi Menuhin and Isaac Stern, he also became the youngest person to sign a recording contract with Deutsche Grammophon.

He ran away from home in his teens to attend the Julliard School in New York, against his parent’s wishes, a rift that has still to be fully healed. Garrett is no ordinary Violinist, his raw talent has been honed by the finest teachers, including Itzhak Perlman at the Julliard. His life experiences have also given him the soul that makes his playing extraordinary. David plays not just with his fingers but with his heart.

David has already established himself in Europe, South America and Asia, with a series of sell out concerts, playing with top orchestras and conductors, including Sir Neville Marriner , Claudio Abbado and Zubin Mehta. Unusually for a violinist many of his fans are still at school and show an unprecedented level of enthusiasm at his concerts. Onstage David exudes charisma and showmanship, performing a mesmerising version of ‘Duelling Banjos’ (from the movie Deliverance) as a guitar duet, ‘Duelling Strings’, and his energetic show stopper, the ‘Gypsy Dance’ by Csárdás. His rendition of Flight of the ‘Bumble Bee’ has to be seen to be believed.

His debut album for Universal Music ‘Virtuoso’ reflects the tastes of a 26 year old who is clearly in love with melodies, no matter what musical genre they come from. Tracks include his own virtuoso interpretations of popular classics ‘Carmen’, ‘Paganini’, as well as romantic film themes, Morricone’s ‘La Califfa’, Bernstein’s ‘Somewhere’, and, as he considers himself one of the MTV generation, has created a brilliant symphonic reworking of the metal masters, Metallica’s ‘Nothing Else Matters’. To further show his multifarious talents, David has composed three very different pieces for the album. ‘Serenade’, a tale of heartbreak and woe, ‘Toccata’, a violin take on a modern sound and ‘Eliza’s Song’ a classic love song.

David is already enjoying phenomenal success in Germany with his album ‘Virtuoso’ outselling such greats as Pavarotti and Bocelli in the Classical charts and hitting the top 30 of the pop charts. In South East Asia his album entered the pop charts at No.3 just behind Mika and Avril Lavigne and straight in at No.1 in their classical chart.

David played his first solo concert in the UK at The Barbican on February 14th, the date immediately sold out.

The old saying ‘seeing is believing’ really does hold true when it comes to David Garrett.

The album ‘Virtuoso’ will be released on March 24th through Universal Classics and Jazz


Posted by:Someone
Posting date:09.03.2008 - 09:57:09
Submitted by:Sylvia
Article date:06.03.2008
Source:click here
Subject:XXVIII Stagione Concertistica dell’Orchestra da Camera Fiorentina
Content:

La star del violino David Garrett, il poker di contrabbassi della Bass Gang, il giovane pianista siciliano Giuseppe Andaloro (vincitore del concorso Busoni), le prestigiose bacchette di Piero Romano, Francesco Lanzillotta, Hannu Koiula’, Giancarlo De Lorenzo...

Quindici concerti all’insegna della qualità e del rinnovamento per la ventottesima stagione dell’Orchestra da Camera Fiorentina, che si apre domenica 16 marzo con un “Omaggio a Mozart”, per poi proseguire fino ad ottobre, nelle splendide cornici della Chiesa di Orsanmichele e del Museo del Bargello, sotto la direzione del Maestro Giuseppe Lanzetta. Al centro della nuova stagione il repertorio barocco, Bach, Albinoni e Vivaldi (25/26 maggio, 22 luglio), ma anche il sinfonismo mitteleuropeo di Beethoven, Shubert e Mendelsshon (7/8 settembre, 12/13 ottobre). Tutti i concerti in Orsanmichele (inizio ore 21) si aprono con l’esecuzione, in prima assoluta, di brani di compositori contemporanei della scuola classica italiana: tra gli altri Leonardo Presicci, Domenico Bartolucci, Alberto Giglioni. Grandi ospiti, poi, per i cinque appuntamenti estivi al Museo del Bargello, dal 7 al 22 luglio: tra gli altri, il gradito ritorno del violinista David Garrett (14/16 luglio) e lo straordinario quartetto di contrabbassi della Bass Gang (7 luglio).

In attività dal 1981, l’Orchestra da Camera Fiorentina si è imposta all’attenzione della critica nazionale ed internazionale: a Firenze, impossibile non ricordare i concerti di Capodanno in piazza Pitti e in piazza Santa Croce, davanti a migliaia di appassionati.


Posted by:Someone
Posting date:04.03.2008 - 18:25:20
Submitted by:Kleene79
Article date:03.03.2008
Source:click here
Subject:Musical heartache as antique violin is smashed to pieces
Content:

For 26 year-old violinist David Garrett, his 18th Century violin is his most treasured possession, enabling him to demonstrate his musical talent.

That was until the musician slipped down a flight of stairs and landed on his 236 year-old instrument after a concert at the Barbican, London.

The 1772 violin made by Giovanni Guadagnini, who called himself an ‘alumnus of Stradivarius,’ was left badly cracked with damage to the body, neck and soundpost. It is a repair job that will take up to eight months and there is no guarantee that the instrument will ever sound as good again.

With insurers offering specialist insurance cover for professional musicians, the instrument should hopefully be restored to its former glory without losing too much of its original value and remaining true to the traditional Guadagnini/Stradivarius style.

Richard Northcott, Executive Director of the Facilities Group division of Lloyd’s broker Heath Lambert, said: “Accidental damage should be covered under our Special Musical Instrument Policy which incorporates all risk, physical loss or damage. There are a few exclusions like war, nuclear damage and the breakage of strings but most other risks that are likely to affect musicians are covered.”

“Orchestral instruments do undergo regular maintenance where certain parts of the instrument are replaced by expert restorers. It is unlikely that this would result in a total loss but the instrument may decrease in value, which could be taken into consideration and covered by our policy as well as the restoration costs.

“With small amounts of restoration it is possible that the instrument could lose value but not necessarily. Certain parts are more important than others where value is concerned, for example the bridge is a very important part of the violin as this amplifies the sound and ultimately has an effect of the quality of the sound as well.

“There is no scientific way of repairing these instruments and there are relatively few experts worldwide that we contact and use. Every restoration is different.”

In the event of an instrument being damaged to the extent that it will be out of action for a long period of time – like the Guadagnini violin – replacements can usually be provided by fellow musicians.

Northcott explained: “Without an instrument the musician would face business interruption, but most musicians have close personal contacts in the industry and often find alternative specialist instruments through their friends. Professional musicians do tend to look after their instruments incredibly well as essentially their livelihood depends on them.

“Some very high value instruments can get stolen, but due to such a small number of these rare instruments around, years later they often find their way back. Seventy five per cent of instruments of significant value have been found again at some point due to the fact that they are immediately recognised.”


Posted by:Someone
Posting date:01.03.2008 - 17:26:16
Submitted by:Tabitha
Article date:01.03.2008
Source:click here
Subject:Fiddler on the hoof
Violin virtuoso David Garrett, 26, on hair dyes, fitness – and the loneliness of a life on the road
Content:

TT: You recently destroyed your 300-year-old Stradivarius. That must have been heartbreaking.
DG: I was very upset. It is being restored, but it may never sound the same again. It was a terrible accident.

TT: You didn’t smash it up on stage, Pete Townsend-style then?
DG: Nothing like that. I was walking down some slippery steps in my concert shoes, and I fell and landed on the case.

TT: Does being a classical violinist preclude a rock’n’roll lifestyle?
DG: I don’t have time for it at the moment. I am rehearsing four to five hours minimum a day. Though I did go to a London Fashion Week after-show party recently, and I have had my wild times. I still do.

TT: Suffer the next day after a night out?
DG: I’m pretty good when it comes to alcohol. I go out with my friends and they get wasted, but I can get up at 8am or 9am to practise. Actually, it was the first time I’ve been out in a few weeks and I was home at 2am, so it wasn’t really a night-out out.

TT: What constitutes “out, out”?
DG: Five, six, maybe sevenish.

TT: Do you party hard?
DG: Not in the sense that I use drugs or anything like that. It is such a busy period as I’m on tour.

TT: Girl in every port?
DG: I certainly have a girlfriend from every city I visit.

TT: And they don’t mind this “arrangement”?
DG: No, we’re friends. If I’m there, I call them up. It’s just company for me.

TT: Is it the Kurt Cobain look that the ladies go for?
DG: People often say there is a resemblance. It goes down well with the girls, yes.

TT: When did you start dyeing your hair?
DG: I used to be a model. On one job they dyed my hair and I thought, “That’s not so bad; I might keep it”.

TT: Bit of a mirror-gazer?
DG: I’m just very conscious of to keeping in shape.

TT: So you’re a gym bunny?
DG: I hit the gym three times a week. I do cardio, mostly jogging, then weights. It helps with my frustration and anger.

TT: Anger?
DG: It’s frustration really. It comes from being by yourself, not having friends around. Every day is a different city for a performer. Every day you rehearse, you go to the gym, you go to your hotel room, yet there’s no regularity. I can’t help but feel frustrated that all the people around me go home to their girlfriends or wives each night while I get on a plane to another city.

TT: You’re German-born and live in New York. How much time do you spend on the road?
DG: For 320 days a year I’m alone in a hotel room. The rest of the time I’m in New York.

TT: No holidays?
DG: No holidays, no weekends, no nothing. It’s pretty sad.

TT: Why do you do it?
DG: It’s how it is to tour. I knew what I was in for when I started playing professionally and it’s just how my life is.

TT: When did you start playing?
DG: When I was 4.

TT: Pushy parents?
DG: No, it all started because I had to have whatever my brother had. He’s two years older and when he got his first bike, I cried because I wanted one. It was the same with the violin. I just wanted one like he had.

TT: So your parents caved in and a star was born?
DG: I listened to my brother and, although I couldn’t read music, after four months I could play every piece that my brother could, just from listening to it. His teacher was amazed and suggested that I have lessons.

TT: And by 8 you’d turned pro?
DG: I played with the London Philharmonic at 8 and when I was 13 or 14 I got a deal with Deutsche Gramophone to make a CD. It’s funny. I watch old videos of me and I’m like: “Wow. It seemed so easy then, why is it so hard now?”

TT: Any ideas?
DG: In the beginning you’re a kid; you play for fun. There’s no pressure. Then, suddenly, you have a deal for a CD, there are ten agents, a CD label wanting you to record. You walk on stage and you feel that people expect you to play fantastically. At that moment you stop doing it for you and do it to please everyone else.

TT: Ever thought of seeing a shrink?
DG: I spoke to a psychoanalyst when I was studying at the Juilliard School in New York. It’s a normal thing there; everyone has one.

TT: And your feeling about carrying on as a violinist?
DG: I decided I wanted to be a violinist not just because I was good at it, but because it was what I had a passion for. That is an important lesson for anyone; to do what you love, not what other people love you to do.

David Garrett’s new album, Virtuoso, is released on March 24. For tour dates visit www.david-garrett.com


Posted by:Someone
Posting date:01.03.2008 - 17:30:31
Submitted by:Tabitha
Article date:01.03.2008
Subject:The child star violonist who became a model is back with a brilliant new CD
Content:

Original article of the classic FM Magazine 02/2008


Posted by:Someone
Posting date:03.03.2008 - 18:16:11
Submitted by:Tabitha
Article date:01.03.2008
Subject:Fiddler on the hoof (Original article of The Times UK)
Content:

Original article "Fiddler on the hoof" - (specially the picture) of The Times


Posted by:Someone
Posting date:24.02.2008 - 18:50:39
Article date:23.02.2008
Source:click here
Subject:Concertreview
Content:

Founded in 1965, the IKO’s repertory ranges from Vivaldi to Stravinsky, with a somewhat special emphasis on Israeli composers. The orchestra tours extensively in Europe, the Americas, and the Far East. It has participated in prestigious festivals including Salzburg, Istanbul, Helsinki, Athens, Pompeii, and Sofia. The orchestra has recorded for Chandos, Musicmasters, Kock, and Teldec.

Gil Shohat’s first orchestral composition, a cantata on The Nightingale and the Rose, was commissioned by the IKO when he was just 18. He is now the orchestra’s artistic director as well as a noted composer, conductor, teacher, and lecturer.

Part maverick, part genius, all virtuoso, David Garrett was born in Aachen of German-American parents. He developed an interest in the violin at the age of 4 and made his first public appearance with the Hamburg Philharmonic Orchestra at 10. He moved to New York as one of the first students to study with Itzhak Perlman and has graduated from the Juilliard School. He has performed all over the world, and he’s only in his mid-20s. His most recent album, Free, was released by Decca, and his website is itself a work of art and not to be missed!


Posted by:Someone
Posting date:17.02.2008 - 17:37:39
Submitted by:Tabitha
Article date:15.02.2008
Source:click here
Subject:Classical music's Beckham suffers a crushing blow
Content:

Everyone hates falling down the stairs. It's even worse when you fall backwards down the stairs. And the one thing even worse than that is to fall backwards down the stairs on top of your million-dollar Guadagnini violin. This, of course, is precisely what happened to David Garrett this week, a model and violinist who somewhere, some place, was dubbed "the Beckham of classical music" - a moniker that's followed him through every piece of press coverage since.

The incident occurred as Garrett was leaving a performance at London's Barbican. According to reports, he slipped and, "as if [he had] trodden on a banana skin," fell backwards down a flight of concrete stairs crushing beneath him a 236-year-old Guadagnini violin. Giovanni Battista Guadagnini, believed to be a student of Antonio Stradivari was one of the premier Italian luthiers and Garrett told the Associated Press that he had bought the violin for $1 million in 2003.

"I hope and pray that it can be fixed, but if it can't, I hope my insurance policy will let me buy another great violin," he said.

German-born Garrett was, at 13, the youngest artist to record for Deutsche Gramophon. He is today 26, a part-time model, and an enormously clumsy oaf.

Thankfully, even butterfingers have friends. The Marylebone violin dealers J&A Beare arranged for a 1718 Stradivarius violin to be flown from Milan to London for Barrett's Valentine's concert last night - again at the Barbican. And just to make sure that this multi-million dollar fiddle didn't suffer the same fate as the Guadagnini, the instrument was shadowed by its own three-man security detail. Foremost among these minders? Paul Hughes, David Beckham's own former security guard.

All that we need now is for Garrett to be somehow traded to the Los Angeles Galaxy.


Posted by:Someone
Posting date:03.03.2008 - 14:50:38
Submitted by:Kleene79 & Tabitha
Article date:15.02.2008
Source:click here
Subject:Blog: David Garrett - broken Stradivarius + Virtuoso album release
Content:

I just watched a funny interview on the BBC news. Classical violinist David Garrett must have a pretty good PR person working for him, because I think this was the first time that I’ve seen a musician play in the studio, on the news. Plus - I hadn’t heard of him until today, and the the story that got him there was that he fell down a flight of stairs onto his priceless Stradivarius violin, that actually cost him $1,000,000, and now the repair bill will be for around £60,000.

He was also able to get a plug in for his upcoming album, ‘Virtuoso’, which is released in March, and that he’s currently on tour. Pretty clever stuff - all because of his fall, a cracked Stradivarious and of course, the fact that he’s an incredible performer. I’m sure he’ll gain many new fans from this, including me.

The BBC interview was funny because the female news reader was all in a tither as David played his violin, and the other news reader, a man, was making fun of her. She had noted Garrett was once a model (to supplement his student income) and that people call him the David Beckham of the violin…which is a bit silly. He is very nice looking though - and he plays a great violin! The violin that he was playing in the studio was another Stradivarius that was brought over from Milan so that he can continue his tour. Hopefully he’ll keep that one intact.

David Garrett has been playing the violin since a very young age, and was known as a child prodigy.

His new album, ‘Virtuoso’ is set for release March 2008.

‘Virtuoso’ track listings:

1. La Califfa
2. Carmen Fantasie
3. Nothing Else Matters
4. Csardas - Gypsy Dance
5. Duelling Banjos
6. Pachelbel’s Canon
7. Paganini Rhapsody
8. Somewhere (West Side Story)
9. The Flight of the Bumble Bee
10. Serenade
11. Toccata
12. You Raise Me Up
13. Eliza’s Song


Posted by:Someone
Posting date:14.02.2008 - 17:46:07
Article date:14.02.2008
Source:· click here
· click here
Subject:Virtuoso violinist falls, fracturing his million dollar fiddle
Content:

Can his fractured fiddle — a million dollar Guadagnini — be fixed? It's too early to tell.

David Garrett, a former model who has been called the David Beckham of the classical scene, said he tripped while carrying his 18th century violin as he was leaving London's Barbican Hall after a performance, smashing it to bits.

"I had it over my shoulder in its case and I fell down a concrete flight of stairs backward," Garrett said Thursday. "When I opened the case, much of my G.B. Guadagnini had been crushed."

Garrett said he bought the 1772 violin for $1 million in 2003, and he is now hoping to get it repaired in New York, where he is based.

"I hope and pray that it can be fixed, but if it can't, I hope my insurance policy will let me buy another great violin," the 26-year-old musician said. He told The Associated Press that other published accounts saying the violin was a Stradivarius were incorrect. Guadagnini is believed by some to have been a student of Antonio Stradivari.

The accident occurred Dec. 27 but only came to light this week when he returned to London for another concert at the Barbican and told British reporters what had happened.

For his Valentine's Day concert there, he is playing a Stradivarius that's been loaned to him.

Garrett gained attention as a child prodigy. Before he was 10, he played as a soloist with the London Philharmonic, according to his Web site. When he studied at the Juilliard School in New York, he became a parttime model to help supplement his income.


Posted by:Someone
Posting date:14.02.2008 - 17:57:07
Article date:14.02.2008
Source:click here
Subject:Violinist: Fall fractures $1M fiddle
Content:

Can his fractured fiddle - a million dollar Guadagnini - be fixed? It's too early to tell.

David Garrett, a former model who has been called the David Beckham of the classical scene, said he tripped while carrying his 18th century violin as he was leaving London's Barbican Hall after a performance, smashing it to bits.

"I had it over my shoulder in its case and I fell down a concrete flight of stairs backward," Garrett said Thursday. "When I opened the case, much of my G.B. Guadagnini had been crushed."

Garrett said he bought the 1772 violin for $1 million in 2003, and he is now hoping to get it repaired in New York, where he is based.

"I hope and pray that it can be fixed, but if it can't, I hope my insurance policy will let me buy another great violin," the 26-year-old musician said. He told The Associated Press that other published accounts saying the violin was a Stradivarius were incorrect. Guadagnini is believed by some to have been a student of Antonio Stradivari.

The accident occurred Dec. 27 but only came to light this week when he returned to London for another concert at the Barbican and told British reporters what had happened.

For his Valentine's Day concert there, he is playing a Stradivarius that's been loaned to him.

Garrett gained attention as a child prodigy. Before he was 10, he played as a soloist with the London Philharmonic, according to his Web site. When he studied at the Juilliard School in New York, he became a parttime model to help supplement his income.


Posted by:Someone
Posting date:14.02.2008 - 18:14:12
Article date:14.02.2008
Source:click here
Subject:How to repair a Stradivarius?
David Garrett faces an anxious wait
Content:

A soloist falls on his priceless 290-year-old violin. But how can it be repaired so it sounds the same?

To drop a much-loved instrument is accident enough. But when it is a violin made by the acknowledged master of the craft, Antonio Stradivari - and it is the tool of your trade as an in-demand soloist - it is unfortunate indeed.

This is the fate that befell David Garrett after performing at London's Barbican Centre in December. He slipped down a flight of stairs and landed on his violin case, badly cracking the Stradivarius - known as San Lorenzo - inside. A violin case acts like a skull, protecting what's inside. But if too badly shaken, the violin - like a brain - can be damaged.

THE ANSWER
Collect all pieces and fragments
Restorer takes months to ease these back into place
Cracks invisible after repair

It is a repair job that will take months of painstaking work to knit the cracks seamlessly back together, using tools and materials much like those used by Stradivari himself.

"You have to very carefully make sure that the broken parts match up perfectly, so any slivers of wood that came loose are put into place," says David Morris, director of restorers J&A Beare, whose colleague in New York has seen the broken violin.

"There's a very famous Stradivarius cello that had its front replaced by a notable Spanish maker. That's the old way of restoration, to throw away the broken part and make your own replacement. Today we would piece it back together again from the original fragments."

Tools range from the traditional - chisels, knives and water-soluble fish-based glue similar to that Stradivari would have used - to the modern.

"If you walked into our workshop today, it would look like the set of a film about a violin-maker from several hundred years ago," says Mr Morris. "But we also use ultra-violet light and endoscopes, which allow you to see inside and take photos, rather than take the top off the instrument."

He likens this to keyhole surgery - where once surgeons opened up a patient, today some procedures are possible via tiny incisions.

Crack'd side to side

The broken violin will take at least eight months to repair. "There are two major cracks on the top on the table where the f-holes are. And two went straight through the soundpost, which is always the bad spot to hit," Garrett says.

Where his violin is damaged
"There are three major cracks from the top to the bottom, as well as a couple of cracks on the side, which don't really affect the sound that much, but they look very ugly."

What makes repairing a violin so fiddly to repair is its arched body. Once the broken fragments are eased back into place, the next step is to apply pressure so the glue holds.

"You can't let the pieces slip out of alignment. The restorer will take days and days and months and months on this," says Mr Morris.

Patches or studs may be inserted into the hollow body to strengthen it, but this risks changing the way notes vibrate and so altering its sound. So the restorer will make these as thin and as carefully placed as possible.

"The soundpost is vulnerable as there is so much pressure on it from the weight of the bridge, which holds up the taut strings. I'd say 80% of violins today have a patch under the soundpost. It's a weak point," says Mr Morris.

And whereas joins were once smoothed then revarnished, today the aim is to disturb as little of the original varnish as possible. There has never been a conclusive answer as to what gives a Stradivarius its distinctive bright sound, but one widely-held theory emphasises the role of the varnish.

So is an extensively repaired Stradivarius still a Stradivarius?

"It depends how much has had to be replaced, rather than restored," says Mr Morris. "If someone has a liver transplant, who are they? A violin with one rib of the six replaced is still a Strad. That said, the necks of all Stradivariuses are relatively new as these wear out - and they are not intrinsic to the sound."

As for Garrett, he now plays a replacement Stradivarius supplied by Mr Morris's firm, but eagerly awaits the return of his patched-up San Lorenzo.

DAMAGED PARTS ON SAN LORENZO

1. Body has several cracks running top to bottom and around sides
2. Some cracks near f-holes - so-called because of their shape - which release sound vibrations
3. Two cracks have split the soundpost, the top side of the violin
4. And another the bass bar, inside the hollow interior
5. Damage to neck is less serious as it isn't intrinsic to the sound


Posted by:Someone
Posting date:14.02.2008 - 18:28:36
Article date:13.02.2008
Source:click here
Subject:Broken Violin Turns Into A $100,000
Content:

"I fell down a flight of stairs and landed on my violin case," said virtuoso violinist David Garrett. "When I opened it up, it was a total mess."

The accident took place during a concert in London over Christmas, he has revealed. The violin in his case was a one of about 650 remaining instruments made by Italian craftsman Antonio Stradivari. It was from Stradivari's "golden period" (1700-1720) which made it much more expensive.

Garrett, 26, likened the accident to "losing a dear friend".

The 290-year-old instrument will spend the next eight months in a workshop, with a repair bill of around £60,000 ($118,000).

In the meantime, Garrett has been offered the use of another Stradivarius, worth an estimated £2.5m, for a Valentine's Day concert in London.

It has been loaned by London-based dealers J&A Beare, who have arranged for the instrument to be flown in from Milan, Italy.

"I've already got it here," Garrett said after rehearsals at the Barbican. "It's a beautiful instrument and it will sound perfect tomorrow."


Posted by:Someone
Posting date:14.02.2008 - 18:31:23
Article date:13.02.2008
Source:click here
Subject:Smooth move, Ex-Lax
Content:

He's been known to take the stage with his 298-year-old Stradivarius tucked under his tattooed arm in a sk8r boi beanie and ripped jeans, but the angry Gods of Fashion weren't having it anymore, and struck down the grungy performer on his a$$. It happened at the Barbican, where 26-year-old violinist David Garrett fell atop his precious instrument, crushing it to splinters. Very expensive splinters.

"I had just played a concert. I was all packed up and ready to go when I slipped and fell. People said it was as if I'd trodden on a banana skin."

"I fell down a flight of steps and onto the case. When I opened it the violin was in pieces. I was just sitting there on the floor, I couldn't speak and I couldn't get up. I didn't even know if I was hurt - I didn't care," he said.

The Independent is calling him "lad with the broken Strad", and is reporting that his badly-damaged instrument will be out of commission for at least eight months, and is facing a $120,000.00 USD repair estimate that will likely alter the subsequent sound of the violin forever.

His upcoming 2008 tour is packed with a Valentine's Day Barbican concert, followed by concerts through the USA, hitting Germany in March and May. Luckily, a 1718 Stradivarius (on loan from Milan) has already been flown-in as a replacement, and the replacement is all like, "d00d: Wear your friiking glasses."

I’m sorry, but it's 2008. Can't they grow a new Stradivarius on a rat's back and swap it out or something?

btw, this is a good opportunity to update this post from last year:

We had written about a NY Philharmonic concert with Maestro Muti and Russian violinist Vadim Repin, where Repin lovingly caressed his 1708 Stradivari called "Ruby". We've since been informed from the kind Executive Director of Chicago's Stradivari Society that Ruby is now under the care of an up & coming violinist by the name of Chen Xi, while Repin has been loaned


Posted by:Someone
Posting date:14.02.2008 - 18:33:00
Article date:13.02.2008
Source:click here
Subject:Fall destroys rare Stradivarius
Content:

Restoration of 290-year-old instrument expected to take eight months

Eminent violinist David Garrett destroyed a priceless Stradivarius violin during a concert in London at Christmas, it has been revealed.

Garrett, 26, a soloist with the London Philharmonic orchestra by the age of ten, was distraught and likened the accident to "losing a dear friend". He explained to the London Evening Standard: "I fell down a flight of steps and on to the case. When I opened it the violin was in pieces."

The damaged violin is known as San Lorenzo and dates back to 1710. The instrument is due to spend the next eight months in a workshop, while specialists attempt to restore it to its former glory. The repair bill is expected to cost around £60,000, but a spokeswoman for the musician speculated that this could run into millions, with no guarantee that it was even possible.

To enable David to play at a special Valentines Day concert, London-based dealer, J&A Beare has offered the use of another Stradivarius, worth an estimated £2.5 million to the virtuoso musician. David Morris, director of J&A Beare was thrilled to be able to help Garrett and commented:

“I know how difficult it is when you have to do a concert and you don’t have the instrument to do it with. There’s more demand than we can supply, so we can’t help everyone who comes through the door, but in this instance we could and we are delighted to be able to. We always help out whenever we can.”

Morris was significantly more confident about the repair of the San Lorenzo, and continued: “The instrument shouldn’t prove too difficult to restore. The craftsmen who undertake this kind of task are extremely capable – geniuses really – and its always easier to repair something like this when the damage has just happened, rather than later down the line, so it’s the best hands.”

Garrett declined to answer questions regarding the worth of the violin, only saying that he bought it "six or seven years ago", but the sale of a violin from the same Golden Period of Stradivarius, known as The Hammer (pictured) was sold for £1.8 million at auction in 2006.


Posted by:Someone
Posting date:14.02.2008 - 18:34:00
Article date:13.02.2008
Source:click here
Subject:An expensive trip
Content:

David Garrett is "part maverick, part genius, total virtuoso". He's also a dreamboat; unfortunately, at present, a dreamboat in bits over his precious Stradivarius which is also in bits since he fell down some stairs onto his violin case after a concert at the Barbican before Christmas. Smash. Oh dear... We don't know if Barbican wine was to blame.

The 290 year old instrument is/was priceless; a priceless jigsaw puzzle right now. Estimates for its restoration run from a modest £60,000 into millions. If it ever can be put back together again. Perhaps David will return to the modelling career that got him through Julliard to help save up for a new one?

The musical studmuffin will be performing as part of a Valentine's Day concert back at the Barbican tomorrow. He is being lent another Stradivarius to play on. We imagine the brave dealers who have arranged this loan will be staying close to Mr Garrett and probably offering to carry his bags.


Posted by:Someone
Posting date:14.02.2008 - 18:34:42
Article date:13.02.2008
Source:click here
Subject:'Beckham of violin' reveals accidental smashing of Stradivarius
Content:

'It was like losing a friend,' says Garrett
He rose to prominence as a child prodigy and helped pay for his Julliard studies by working as a fashion model, but concert violinist David Garrett now has a more unfortunate claim to fame — as the musician who smashed his Stradivarius.

David Garrett performs at the Montegrappa award ceremony held in October 2007 in Rome. Late last year he smashed his priceless Stradavarius after tumbling down stairs.

On the eve of a Valentine's Day concert in London, the 26-year-old virtuoso — who has been called the "David Beckham of the classical violin" because of his good looks — revealed that after a holiday season performance late last year, he tripped and fell onto his priceless 290-year-old Stradivarius violin.

"People said it was as if I'd trodden on a banana skin. I fell down a flight of steps and onto the case," the German-born Garrett told the Evening Standard newspaper.

"When I opened it, the violin was in pieces. I couldn't speak and I couldn't get up. I didn't even know if I was hurt — I didn't care. I've had that violin for eight years. It was like losing a friend."

The broken violin, known as San Lorenzo, will be out of commission for at least eight months as restorers attempt to reassemble the pieces. The process is estimated to cost at least £60,000 (about $117,000).

However a spokeswoman said there is no guarantee that the damaged instrument — which master Italian craftsman Antonio Stradivari apparently created during his "golden period" — could be repaired at all.

Nevertheless, Garrett's concert of "Love Classics" at London's Barbican Hall on Thursday is safe, after violin dealer J&A Beare arranged to loan him another Stradivarius that was flown in from Milan — reportedly accompanied by a security team to keep an eye on it.

Approximately 600 violins, cellos and other stringed instruments created by Stradivari in his Cremona, Italy, studio during the late 17th and early 18th centuries remain in existence around the globe today, with some used by the world's top instrumentalists and others displayed in museums or galleries.

When they come to auction, Stradivari instruments — still considered the gold standard today — typically fetch in the millions.


Posted by:Someone
Posting date:14.02.2008 - 18:36:01
Article date:13.02.2008
Source:click here
Subject:Fall destroys rare Stradivarius
Content:

Garrett's violin, known as San Lorenzo, dated back to 1710
Virtuoso violinist David Garrett smashed a Stradivarius when he fell over after a concert in London over Christmas, he has revealed.

(changed at 15.02.08 to : )
Violinist destroys $1m instrument
Garrett's violin dates from the 18th Century

Virtuoso musician David Garrett smashed a $1 million (£540,000) violin when he fell over after a concert in London over Christmas, he has revealed.

"I fell down a flight of stairs and landed on my violin case," he told the BBC. "When I opened it up, it was a total mess." Garrett, 26, likened the accident to "losing a dear friend".
The 290-year-old instrument will spend the next eight months in a workshop, with a repair bill of around £60,000. "I think it's worth the money," said Garrett.
"You want to have the best repair possible done, which is never the cheapest solution.
"Certain instruments just work very well with the violinist... I just loved the violin very, very much."
In the meantime, Garrett has been offered the use of another Stradivarius, worth an estimated £2.5m, for a Valentine's Day concert in London.
It has been loaned by London-based dealers J&A Beare, who have arranged for the instrument to be flown in from Milan, Italy.
"I've already got it here," Garrett said after rehearsals at the Barbican. "It's a beautiful instrument and it will sound perfect tomorrow."

Prodigy

German-born Garrett first came to attention as a child prodigy, and he played as a soloist with the London Philharmonic before he was 10. He has recently returned to the stage after running away from home to study at the renowned Juilliard School in New York, against the wishes of his parents.
He paid his own way for the course, supplementing his income by modelling for the likes of Vogue and Armani. The broken violin, known as San Lorenzo, was one of about 650 remaining instruments made by Italian craftsman Antonio Stradivari. It was made during his so-called "golden period" of 1700-1720, making it even more valuable.
In May 2006, a Stradivarius known as The Hammer set an auction record when it was sold for $3.54m (£1.8m).
Garrett declined to say how much he had paid for his violin when he purchased it "six or seven" years ago.
The star said his accident came as he tried to make an early getaway from the Barbican Centre last year.
"I left the concert after the first half because my family was there and we wanted to grab dinner," he said.
"The stairs were very slippery and I still had my concert shoes on. I had my violin over my shoulder, but I slipped and landed on my violin case.
"I'm not happy about it at all, but it kind of saved my life."


Posted by:Someone
Posting date:14.02.2008 - 18:41:11
Article date:13.02.2008
Source:click here
Subject:Virtuoso's slip destroys priceless Stradivarius
Content:

Instruments made by renowned violin maker Antonio Stradivari are so rare that it is almost impossible to estimate its value. As a former child prodigy blessed with chiselled good looks, they called him the David Beckham of the classical violin. Now he is more likely to be known as the lad with the broken Strad.

David Garrett, 26, one of the UK's foremost young concert performers, had an accident that every world-class musician must dread: at the end of a concert at the Barbican he tripped and landed on his violin.

The instrument is a 290-year-old Stradivarius, so rare that it would be almost impossible to estimate its value. Certainly there are people who would have gladly paid hundreds of thousands of pounds for it, before its glamorous owner did a turn as Mr Bean.

Now he has a badly damaged violin that will be out of use for at least eight months, and may never sound the same again. He is also facing a ?60,000 (NZ$149,000) repair bill.

The accident threatened to leave the musician without a suitable instrument to play tomorrow night, when he is due back at the Barbican to perform Bruch's Violin Concerto.

But help has come from J&A Beare, the violin dealers of Marylebone, who have arranged to have another Stradivarius flown in from Milan to be loaned to Garrett.

The instrument, made in 1718, will be accompanied by a three-man security team watching over Garrett's every step.

When he was just 14 years old, the German-born prodigy was the youngest ever artist to be signed up by Deutsche Grammophon. At the age of four his father gave him a violin, and by the age of eight, he had a management team and was playing solo with of the world's leading orchestras. Later, he moved to New York to study, supplementing his student grant by modelling.

"I was all packed up and ready to go when I slipped," Garrett told the Evening Standard.

"People said it was as if I'd trodden on a banana skin. I fell down a flight of steps and on to the case. When I opened it, the violin was in pieces. I couldn't speak and I couldn't get up. I didn't even know if I was hurt - I didn't care. I've had that violin for eight years. It was like losing a friend."

The violin, known by its sobriquet San Lorenzo, is one of about 600 surviving instruments made by Antonio Stradivari.

In May 2006, the Hammer Stradivarius made in 1707 sold at Christie's in New York for ?1.8m, a record for a musical instrument at auction, while the previous year the Royal Academy of Music bought the Viotti violin for ?3.5m.

The nearest another musician has come to suffering a similar disaster was when Peter Stumpf, a performer from the Los Angeles Philharmonic, came home tired one evening in 2004 and absent-mindedly left his 1684 Stradivarius cello on his front doorstep. Video security footage showed a youth stealing it and struggling to escape on a bicycle, crashing into dustbins on his way. It was found three days later by a nurse, who gave it to her boyfriend, a carpenter, who offered to turn it into a CD rack. It was returned only slightly damaged.

In 1999 the world-renowned cellist Yo-Yo Ma left his ?1.25m 1733 Stradivarius cello in the boot of a New York taxi. A huge crowd gathered outside his hotel the next day to see it returned in a black police sedan.


Posted by:Someone
Posting date:13.02.2008 - 18:45:55
Article date:12.02.2008
Source:click here
Subject:Violinist back on his feet after £60,000 slip
Content:

With his brooding good looks, tattoos and blond hair, David Garrett has been dubbed the Beckham of the violin.

But it was more like a stunt from a Mr Bean movie when the rising classical music star tripped and fell on his beloved 298-year-old Stradivarius after a concert at the Barbican.

The disaster left Garrett's rare instrument badly mangled and needing £60,000 worth of repairs.

It will be out of action for up to eight months with no guarantee it will ever sound as good again.

The accident meant the 26-year-old was left without a violin worthy of a virtuoso for a Valentine's Night concert - again at the Barbican - where he is due to play Bruch's Violin Concerto.

However, at the last minute he has been offered a loan of another Stradivarius from the "Golden Period" of 1705 to 1720.

It is being flown in from Milan to be presented to German-born Garrett by Marylebone violin dealers J&A Beare today.

The violin, made in 1718, is worth millions of pounds and comes with its own three-man security detail - led, coincidentally, by David Beckham's former minder Paul Hughes.

Garrett said: "I had just played a concert. I was all packed up and ready to go when I slipped and fell. People said it was as if I'd trodden on a banana skin.

"I fell down a flight of steps and onto the case. When I opened it the violin was in pieces. I was just sitting there on the floor, I couldn't speak and I couldn't get up. I didn't even know if I was hurt - I didn't care," he said.

"I have had that violin for eight years. It was like losing a dear friend. I have been looking around for the past few weeks but I was starting to get scared. Then I got a call from my manager to say we have been offered a Golden Period Strad. The guy had heard my playing in Milan and said we could have it for nothing."

Garrett's managers at Universal have insisted on security and insurance. "Since I trashed one they are determined there is not going to be a second time," he said.


Posted by:Someone
Posting date:12.02.2008 - 18:47:35
Article date:12.02.2008
Source:click here
Subject:English bio for
Content:

English bio for "Virtuoso" UK !


Posted by:Someone
Posting date:09.03.2008 - 09:54:50
Submitted by:Sylvia
Article date:12.02.2008
Source:click here
Subject:Weis Center hosts Israel Kameret Orchestra
Content:

LEWISBURG, Pa. — The Israel Kameret Orchestra will perform in concert Saturday, Feb. 23, at 8 p.m. in the Weis Center at Bucknell University. Tickets are $20.

"The program combines beautiful classics by Mendelssohn and Beethoven with exciting new works by the contemporary Israeli composers Yehezkel Braun and Gil Shohat," said Bill Boswell, executive director of the Weis Center.

"In fact, one highlight of the evening's program may be the 'Symphony of Fire,' composed by Shohat, who also is artistic director of the Orchestra," Boswell said. Shohat's first orchestral composition, a cantata on 'The Nightingale and the Rose,' was commissioned by the IKO when he was just 18.

"Another highlight will be the well-loved violin showpiece 'Zigeunerweisen' by Sarasate, which will performed by soloist David Garrett. Garrett has been called part maverick, part genius and all virtuoso. His will be a performance possibly idiosyncratic, probably electric, and certainly not to be missed," said Boswell."

Garrett, who made his first public appearance with the Hamburg Philharmonic Orchestra at age 10, was one of the first students to study with Itzhak Perlman. A graduate of the Juilliard School, he has performed worldwide.

Founded in 1965, the Israel Kameret Orchestra tours extensively in Europe, the Americas and the Far East, and has participated in prestigious festivals including Salzburg, Istanbul, Helsinki, Athens, Pompeii, and Sofia.

Tickets for this performance are available in person from the Campus Box Office in the Weis Center on weekdays from 11 a.m. to 5 p.m., or at the Bucknell University Bookstore, located on the ground floor of the Elaine Langone Center, from 9 a.m. to 4:30 p.m.

Advance tickets also are available online at www.bucknell.edu/Boxoffice or by calling 570-577-1000. The box office in the Weis Center lobby opens one hour prior to performances.

This performance is made possible in part by a generous contribution from Phyllis and Norman Rich.

The 2007-08 season of Weis Center Events is generously supported by grants from the Bucknell University Association for the Arts and the Commonwealth of Pennsylvania Council on the Arts in conjunction with the National Endowment for the Arts, a federal agency. Additional support for the series is provided by numerous and generous private donors including members of the Weis Center Green Room Circle and Green Room Board.


Posted by:Someone
Posting date:09.02.2008 - 18:48:35
Article date:08.02.2008
Source:click here
Subject:Introducing... Violinist David Garrett
Content:

HE is being dubbed classical music's David Beckham and, while it's not hard to see how his boyish good looks could lead to such comparisons, there is a lot more to German-born David Garrett than a pretty face. A child prodigy, at 13 he was the youngest artist ever to record for prestigious classical label Deutsche Gramophon, and in the next four years the young virtuoso released four albums, the last being the Tchaikovsky and Conus concertos, with Mikhail Pletnev and the Russian National Orchestra.

Garrett, who plays a free concert at Ocean Terminal today, was bitten by the music bug at four after his dad gave him a violin to play with. Without a single lesson, the toddler picked it up and started to play.

"After two months without a teacher I was playing better than my older brother," laughs Garrett, now 25. "I think that my parents thought there must be some talent there, so they started to send me out to teachers."

A shrewd move. At the age of eight, with a management team already behind him, he was playing solo with some of the leading international orchestras, including the London Phil-harmonic, the Los Angeles Phil-harmonic and the Russian National Orchestra.

It wasn't long before he started to attract the attentions of some of the world's foremost music teachers and conductors – namely Zubin Mehta, Claudio Abbado and Pletnev. And he even performed under the direction of Yehudi Menuhin.

"I'm flabbergasted when I listen to recordings of myself at that age," says Garrett, who was putting in seven hours of practice every day while his friends were becoming experts at PlayStation.

"It is weird to hear someone so young play so well, even if it is me," he adds. Having won a scholarship at the esteemed Juilliard School (one of the world's premier performing arts conservatories), Garrett left his native Germany for New York, where he supplemented his student grant with modelling assignments for magazines, like Vogue, and fashion houses, such as Armani, appearing not only in glossy magazines but in catwalk shows.

After graduation Garrett stayed on in the Big Apple, getting himself a new pad in NYC's trendy Hell's Kitchen, where he found himself in the centre of it all – close to the cultural life of the Lincoln Center but near enough to the club culture of Chelsea and the West Village.

It was this new feeling of freedom, coupled with a talent that had been refreshed by his time studying at Juilliard, that led to what he likes to think of as his "first album", Virtuoso.

"This is the first one where I'm in charge," says Garrett, whose newbie hits record stores next month. "The producing, the arranging, the composing – it's totally my project.

"The record company trusted my instincts, gave me freedom to experiment and I came up with all this stuff," adds a young man you'll be hearing a lot more of in the coming months.

• David Garrett, Ocean Terminal, Ocean Kitchen, today (8th), 1.30pm


Posted by:Someone
Posting date:03.03.2008 - 15:10:18
Article date:01.02.2008
Source:click here
Subject:CD Review - Free (Singapore)
Content:

David Garrett was a child prodigy. At 13, he was the youngest artist to have recorded for the prestigious classical recording company Deutsche Gramophon. In the next four years, the violin virtuoso recorded four albums, his last being the Tchaikovsky and Conus concertos with no less than Mikhail Pletnev and the Russian National Orchestra.

Eight years later, Garrett has recorded again. He’s being marketed as classical music’s David Beckham, and it’s not hard to see how his good looks could lead to those comparisons. But this album, like the Englishman’s fashion sense, comes perilously close to crossing the line between fluff and cheesy froth. Paying lip service to classical composers, he ditches their originals for his own versions.

For instance, his ‘Carmen Fantasie’, loosely based on Sarasate’s own composition with the same title, is here in flamenco style; his take on Monti’s ‘Czardas’ – for guitar, accordion, piano and cello – is ‘freshened up’ to make it sound contemporary. What you get is something more at home in a chill-out bar than a concert hall, and maybe it’s meant to be that way. But what’s original about taking a well-loved tune and adding beats to it? The tracks that fare best are the ones left mostly as-is and treated with more respect for the original material, such as ‘Somewhere’ from West Side Story.

If he was just a minor talent discovered by a record company, Free would be harmless. But when it’s Garrett, capitalising on his pretty-boy looks rather than obvious talent, it isn’t merely a waste, it’s a sin.


Posted by:Someone
Posting date:22.01.2008 - 18:52:01
Article date:20.01.2008
Source:click here
Subject:Chamber music takes over Eilat
Content:

This year's ClassiCameri in Eilat will mark the 10th anniversary of the Israel Chamber Orchestra. The Isrotel chamber music festival will celebrate by presenting two programs on two consecutive weekends, from January 24-27 and from January 30-February 3.

The program ranges from Beethoven to Broadway, with appearances by guest stars such as violinist David Garrett playing Mendelssohn's Violin Concerto and Brahms' Violin Sonata No. 2, classical guitarist Liat Cohen giving us Rodrigo's very famous Concierto de Aranjuez and pearls of the Spanish guitar repertoire, complete with flamenco dancer Inbal Cohen. Soliki, a soloist ensemble from the Tbilisi Opera, will present arias and Georgian folk songs, and of course, the ICO itself and its multi-gifted music director, composer/pianist/conductor Gil Shohat, will perform, too.

For the rest, there's an evening of Broadway songs and French chanson, a Mozart program cheekily named "Marriage Isn't Everything" that features a string quintet and brass octet of players all from the ICO, and heart-tugging Ladino romance ballads.

The venues are the Royal Beach and the Royal Garden hotels. The package includes bed and breakfast and tickets to all the concerts. Sounds like fun.


Posted by:Someone
Posting date:10.01.2008 - 18:54:21
Article date:30.10.2007
Source:click here
Subject:Serata con award e cena al Rhome per il musicista David Garret (Source incl. pictures!)
Content:

Una serata all’insegna della genialità italiana. È quella che si è svolta martedì 30 ottobre a Roma per la presentazione della prima edizione dell’Award Montegrappa Genio Creativo, un premio ideato da Montegrappa, la prestigiosa azienda del gruppo Montblanc che dal 1912 produce penne che sono simbolo dell’Italia che produce arte, bellezza ed emozione. L’appuntamento era per le ore 20.00 presso lo Spazio Etoile di via di Fontanella Borghese. E’ stato un evento di grande successo, presentato da Camila Raznovich. Gli ospiti presenti, hanno apprezzato ed applaudito a lungo il concerto del violinista David Garrett, un artista che, nonostante la giovane età, grazie alla sua versatilità e alla sua interpretazione del tutto originale dello strumento, è riuscito a raggiungere la celebrità internazionale con la magia della sua musica. Nessuno meglio di lui può rappresentare il senso di una serata dedicata al “Genio Creativo”.

Il progetto “Genio Creativo” vuole celebrare il valore della creatività tra passato, presente e futuro. L’idea che sta alla base di questa iniziativa di Montegrappa è quella di valorizzare un genio creativo del passato e individuare nel talento e nell’estro di giovani emergenti una prosecuzione ideale di quell’eccellenza. Anno dopo anno, Montegrappa selezionerà un personaggio la cui arte è divenuta un riferimento per le generazioni successive e contemporaneamente si impegnerà a contribuire allo sviluppo del potenziale creativo di artisti non conosciuti dal grande pubblico, offrendo loro un’occasione di visibilità e un supporto concreto per affinarne il talento. Il tema scelto per l’edizione 2007 dell’iniziativa è la musica, attraverso la celebrazione di Antonio Stradivari, il più celebre liutaio di tutti i tempi.

Questa prima edizione del premio è stata assegnata a una delle migliori realtà musicali italiane, l’Accademia di Santa Cecilia di Roma, per la precisione al “Coro delle Voci Bianche”. Un coro che è nato nel 2003 da un’idea di Gregorio Mazzarese all’interno dell’iniziativa “Tutti a Santa Cecilia", il settore Education dell'Accademia. A dimostrazione della validità del progetto, oggi il coro ha un’intensa attività concertistica e si trova spesso a collaborare con l'Orchestra e il Coro dell'Accademia Nazionale di Santa Cecilia. La serata del 30 ottobre è stata anche l’occasione per Montegrappa di presentare la sua ultima, prestigiosissima creazione: la nuova penna in edizione limitata che, dato l’argomento della serata, non poteva chiamarsi che Stradivari. Un prodotto che è un vero e proprio capolavoro di design ispirato alle forme e ai materiali del violino più famoso del mondo.

La piacevole serata è proseguita con un cena riservatissima al rhome di piazza Augusto Imperatore, locale che con grande generosità ha messo a disposizione i suoi splendidi e raffinatissimi spazi. Tantissimi i personaggi noti e non noti che sono rimasti estasiati dal violinista David Garret tra le personalità intervenute erano presenti: la Principessa Clotilde Courau di Savoia che è stata la madrina della serata, Marta Marzotto, Mita Medici, Janet de Nardis, Camila Raznovich, Jinny Steffan, Attilio Romita, Giorgio Bracardi, Paola Saluzzi, Giulio Base,Franca Fendi, Federica Fendi, Candido Speroni, Tania Zamparo, Roberto Haggiag, Nadia Bengala, David Garrett, Vincenzo Bocciarelli, Enrico e Federica Vanzina, Principessa Alessandra Borghese, Elsa Martinelli, Principe Carlo Giovannelli, Silvia Serra di Cassano, Renato Balestra, Davide Ricci, Danny Quinn, Carmen Russo e Enzo Paolo Turchi, Orso Maria Guerrini, Giada de Miceli, Sara Ricci, Roberta Beta, Silvana Pampanini.


Posted by:Someone
Posting date:10.01.2008 - 18:53:04
Article date:29.10.2007
Source:click here
Subject:David Garrett @ Hacken Lee
Content:

Crossover has been really popular. Hacken and David Garrett doing a crossover for "Paper Marriage" seems like it is not very exciting, but the two creates sparks when collaborating.

David Garrett is a young violinist known to resemble David Beckham; does he? Maybe it's just a name so it is easier to put a face to the name.

Hacken has worked with many other musicians, this is his first time working with David, but it seems as if Hacken already knows him very well. Hacken was the winner of 1986 New Singer Contest, he has been in the industry for 21 years already. But Hacken argues, only 20 years. It seems that 1 year makes a difference for Hacken. Being in the industry for 20 years, Hacken has been through many ups-n-downs; but till this day still have people buying my albums, watching my movies, still have many fans, it is not easy. After 20 years, I finally have some independent input on my work.

Always low-key, Hacken married his girlfriend of 13 years. Since marriage, nothing much has changed, I am still called Mr. Lee; only thing that changed are some little details when I have to fill out forms. Hacken rarely speaks of his family, he wishes the media will place more focus on his work rather than his family. When there is an article about him, the article may be about work, but the captions will always relate to his family.

Hacken expresses that he is just a normal person, when off-stage, I like to go shopping, go play ball, just like a normal person. I still have to get married. It is nothing different. On the day of the wedding, I am just doing what a normal couple would do, but I don't want it to be a city-wide topic/focus. So just stay low-key.

This article's focus was supposed to be on the crossover between Hacken and David. But there was only a simple question to David; what he thinks of Hong Kong. He says he likes HK, then Hacken passes by and asks him "Honestly?" then David finds all the reasons to support his liking HK. Very funny. But it is seen that Hacken really understands David; he knows that David likes chocolate, so Hacken buys him a lot of sweets; it is seen that David was very happy in the collaboration.

Two grown men, crossover was very caring and understanding, it is a good thing that one of them is married! (haha! =P)


Posted by:Someone
Posting date:10.01.2008 - 19:57:51
Article date:14.10.2007
Source:click here
Subject:Prodigy Violinist : David Garrett
Content:

David Garrett has always been on my list of research topics. I have always wanted to know more about him and his unique style of playing. All I knew was that he looks a lot like Kurt Cobain from the legendary group - Nirvana. I knew he has successfully brought classical violin playing to younger audiences and to top it all he was a model in New York at one point of his career. His latest album entitled Free showed off his diverse style of playing. It has a mix of rawness and melodic twist to it. A style that makes you stop for a moment in time to question the many different and intriguing passages in his music. He has a mystic way of playing the violin that will tingle your thoughts and resonate those emotions within you . I enjoyed this album very much and it has successfully captivate my instincts and curiosity for this very talented violin player.

A child prodigy, at the age of 13, Garrett was the youngest exclusive artist with Deutsche Grammophon Gesellschaft, and had an international career at the young age of 13 to 17. Garrett then withdrew from the international concert business – consciously distancing himself from his career thus far – and moved to New York. This was followed by four years of recollection, renewal, self reflexion and artistic advancement, during which Garrett earned his living mainly by working as a model. Garrett was one of the first students of Itzhak Perlman at the Juilliard School. Now, at the age of 23 and after having graduated from his master class, Garrett makes a comeback to the international concert business.

Current engagements with orchestras such as the Orchester National de Lyon with Jun Märkl and the Orchestre Philharmonique du Luxembourg with Sir Neville Marriner have Gerdtaken David Garrett to Portugal, Spain, Italy, France, Luxemburg, Croatia, Israel, USA, Brazil and Japan. David Garrett was born in Aachen, the son of German-American parents, and first started to learn the violin at the age of four. At the age of 10, he had his first public concert with the Hamburg Philharmonics under the direction of Albrecht. In 1992 Garrett started to work with the great Polish violinist Ida Haendel, who significantly influenced his artistic development. At the age of 18, David Garrett moved to New York, where he became one of the first students of Itzhak Perlman at the Juilliard School. By working with Itzhak Perlman, Garrett regained his musical language and gained new confidence and the willingness to live for his music. Being stylistically flexible, he developed a versatile repertoire from Bach and Mozart, to the great classic violin concertos of Beethoven, Brahms, Sibelius and Tchaikovsky, and the rarely played violin concertos of Conus, Schumann and Dvorák to virtuosic works by Waxman, Ravel and Saint-Saëns, which gave him ab worldwide reputation as extraordinary soloist with a bewitchingly pure sound and juvenile verve.


Posted by:Someone
Posting date:10.01.2008 - 20:10:52
Article date:13.10.2007
Source:click here
Subject:ULTIMO CONCERTO OURO NEGRO 2007 TROUXE DAVID GARRETT TOCANDO PROKOFIEV
Content:

Veja aqui o press-release do evento.

O décimo-primeiro concerto da série OURO NEGR0 2007 apresenta um dos jovens violinistas internacionais de renome na atualidade

O ALEMÃO DAVID GARRETT INTERPRETA O CONCERTO NO. 1 PARA VIOLINO E ORQUESTRA DE PROKOFIEV NO SÁBADO, 13 DE OUTUBRO, ÀS 16H, NO TEATRO MUNICIPAL

A REGÊNCIA É DO CONVIDADO MOSHE ATZMON

Está de volta ao mais importante palco da música clássica do Brasil, e novamente como convidado da Orquestra Petrobras Sinfônica, o jovem violinista alemão David Garrett, elogiado por mitos como Yehudi Menuhin (“ele apenas toca maravilhosamente”) e Daniel Barenboim (“um talento excepcional”). Ele é o solista do último concerto da série Ouro Negro de 2007 – e no sábado, dia 13 de outubro, às 16h, Garrett mergulha nos sons de Prokoviev. A regência fica a cargo do maestro convidado, o húngaro Moshe Atzmon.

O programa começa com as Danças de Galanta, do compositor húngaro Zoltan Kodaly (1882-1967), conhecido educador (seu método Kodaly de ensino de música é famosíssimo e reza que todos devem receber educação musical junto com a alfabetização), contemporâneo e parceiro de Bela Bártok. A peça foi escrita em 1933 para celebrar os 80 anos da Sociedade Filarmônica de Budapeste e traz referências da infância do compositor – Galanta é a cidadezinha onde Kodaly cresceu.
Duas obras de Sergei Prokofiev (1891-1953) completam a récita (veja o texto completo no site da Orquestra, www.opes.com.br). David Garrett é o solista do lírico Concerto nº 1 para violino e orquestra, em ré maior, opus 19, escrito entre 1915 e 1917 (ano em que Sergei saiu da Rússia, por causa da Revolução, e se mudou para os EUA e depois para Paris) – o compositor tinha apenas 24 anos de idade. A peça estreou em Paris, cinco anos depois, para uma platéia em que estavam os artistas de vanguarda da época como Picasso e Arthur Rubinstein e ficou famosa apenas ao ser executada pelo mito da época, Joseph Szigeti. Apesar da face ainda romântica, já apresenta as sugestões da modernidade que Prokofiev abraçaria nas dissonâncias que começam a aparecer.
A tarde se encerra com excertos das suítes 1 e 2 de Romeu e Julieta, composto em 1935 para o Balé Bolshoi e que só estreou três anos depois, na antiga Tchecoslováquia. A obra é do retorno de Prokofiev à URSS, onde teve de encarar a mão de ferro de Stalin e produzir arte “para as massas”. Por uma incrível coincidência, Prokofiev faleceu exatamente no mesmo dia e minutos depois do ditador, em 5 de março de 1953. Notícias da época dão conta de que apenas 40 pessoas foram ao seu enterro e que não havia flores – todas haviam sido levadas para o funeral de Stalin.


Posted by:Someone
Posting date:10.01.2008 - 20:23:01
Article date:13.10.2007
Content:

Moshe Atzmon, nascido na Hungria, foi Maestro Titular da Orquestra Sinfónica de Sydney, da Orquestra Sinfónica da Rádio de Hamburgo, da Tokyo Metropolitan Symphony, da Filarmônica de Nagoya, da Orquestra de Basiléia, da Orquestra Sinfônica de Aalborg e ainda o Maestro Convidado Principal da Orquestra Filarmônica da KBS, em Seul.
Depois de começar seus estudos em Budapeste, aos 13 anos seguiu com a família para Israel, onde completou sua formação – violoncelo, trompa, regência e composição - nas Academias de Música de Telaviv e Jerusalém. Em 1960 aperfeiçoou-se como regente na Guildhall School of Music, em Londres, onde trabalhou com Antal Dorati. Três anos mais tarde, recebeu o 2º Prêmio no Concurso de Direção de Orquestra Mitropoulos, em Nova York, assim como o Prêmio Leonard Bernstein, em Tanglewood. Em 1964, Moshe Atzmon recebeu o 1º Prêmio no Concurso Internacional de Regência de Liverpool e, desde então, tem conduzido nos mais importantes centros musicais do mundo, à frente de muitas das grandes orquestras, incluindo as Filarmônicas de Berlim, Viena e Munique, assim como as mais importantes orquestras londrinas, além de óperas: foi Diretor Musical da Ópera de Dortmund, regendo também nos teatros de ópera de Berlim, Hamburgo e Basiléia e na Ópera Real Dinamarquesa, entre outras salas.
A maior parte das suas muitas gravações foi realizada pelos selos Deutsche Grammophon, Decca e EMI.

PROGRAMA - 11º Concerto da Série Ouro Negro

Zoltán Kodály - Danças de Galanta

Sergei Prokofiev - Concerto nº 1 para violino e orquestra, em ré maior, opus 19
Solista: David Garrett

Sergei Prokofiev - Romeu e Julieta, excertos das suítes 1 e 2

REGENTE: MOSHE ATZMON
11º concerto da série OURO NEGRO 2007


Posted by:Someone
Posting date:10.01.2008 - 20:24:21
Article date:05.10.2007
Content:

alle ore 21:00 presso la splendida Chiesa di Orsanmichele, ed il giorno seguente sempre alla stessa ora, David Garrett e Giuseppe Lanzetta tornano insieme sul palco per chiudere in bellezza la 27° Stagione concertistica dell'Orchestra da Camera Fiorentina. Il programma prevede l’esecuzione del Concerto in re magg. Op. 61 per Violino e orchestra e della Sinfonia N° 8 in Fa maggiore Op. 93, entrambe di Beethoven.

David Garrett suona un violino Stradivari “San Lorenzo” del 1718, uno dei migliori strumenti del periodo d’oro della Liuteria Stradivari che fu appositamente costruito per il principe di Madrid. Di ascendenza tedesco-americana, è nato ad Aacken nel 1980. Sotto la spinta di suo padre si dedicò sin da piccolo allo studio del Violino. Nel 1992 richiamò l’attenzione del grande violinista Ida Haendel che lo spronò ad intraprendere la sua formazione artistica. Itzhak Perlmann, suo insegnante, ha particolarmente contribuito alla sua formazione musicale. La sua prima apparizione pubblica come solista è stata al concerto tenuto nella Musikhalle di Amburgo con l’Orchestra Filarmonica di Amburgo sotto la direzione di Gerard Albrecht. Il successo ottenuto gli ha fatto intraprendere una brillantissima carriera che lo vede ospite nelle più importanti orchestre europee come la Filarmonica di Londra, Los Angeles, Israele, l’Orchestra Nazionale Russa, l’Orchestra Nazionale di Parigi, il Mozarteum di Salisburgo, l’Orchestra da Camera Europea, la Staatskapelle di Dresda, sotto la direzione di illustri maestri quali Claudio Abbado, Zubin Metha, Giuseppe Sinopoli, Herberth Blomstedt, Charles Dutoit, Eliahu Inbal, Mikhail Pletnev e, recentemente, con Giuseppe Lanzetta con l’orchestra Sinfonica di Aachen. Nel 1997 ha suonato a Bombay e Nuova Delhi con l’orchestra Filarmonica di Monaco diretta da Zubin Metha, in occasione del 50° anniversario dell’Indipendenza dell’India. Nel 1999 si è esibito a Berlino con Rafael Fruhbeck de Burgos e l’orchestra della Radio di Berlino; il grande successo ottenuto gli procurò un invito a suonare all’Expo 2000 di Hannover.

Giuseppe Lanzetta, definito uno dei più brillanti direttori della giovane generazione, inaugura così la sua ventisettesima stagione con l'Orchestra da Camera Fiorentina, dopo un 2006 ricco di soddisfazioni che lo ha visto protagonista del premio Firenze per la Musica e l’Arte e della direzione del magnifico concerto di fine anno in Piazza Pitti, oltre al fantastico successo con la Berliner Symphoniker alla Carnegie Hall di New York.


Posted by:Someone
Posting date:10.01.2008 - 19:56:35
Article date:01.10.2007
Source:click here
Subject:David Garrett @ Hacken Lee
Content:

David Garett arrived in Hongkong not only to perform for Hacken's song "Paper Marriage" on JSG, but to also hold a mini concert. When interviewed, he praised Hacken's performance style as having a more oriental flavour while Eason, whom he has worked with before, has a more European-style. He also disclosed that he once (encouraged? -> this word is missing from the article, so I'm just guessing the meaning of the word) Eason and Hacken to work hard for their happiness by getting to know girls. But Eason did not say anything, leading David to misunderstand that Eason was still single.


Posted by:Someone
Posting date:10.01.2008 - 20:00:27
Article date:09.09.2007
Subject:Violinist David Garrett's chocolate-free days
Content:

He’s equally at home in front of the camera than he is behind the violin. German-born violinist David Garrett – who is another addition to the influx of crossover instrumental artists – used to model while studying at the prestigious Julliard school in New York. I spoke with the 24-year-old musician – who looks a lot like actor Josh Holloway who plays Sawyer in the TV series Lost – and asked him what he no longer misses about the modeling industry…

Garrett: “All the stuff I liked I couldn’t eat (laughs) that's why I'm not doing it anymore. Of course chocolates are like a big thing for me. I mean I love eating chocolates. It's a terrible thing. These days even when I go to the hotel room the first thing I do is take all the sweets out of the mini bar and give them back downstairs and like tell them not to bring any stuff upstairs (laughs) because I know, you know, I come back home at like 12 at night from a long day. And the first thing I’m gonna do is I’m gonna put the TV on and just crash the mini bar. I don’t wanna do it so. I guess it’s a self-protection mechanism.”

Garrett who now spends most of his time in New York also told me that the stories about how unsafe the streets of Big Apple are is a myth…

Garrett: “Oh no! New York is very easy-going. I think it's probably one of the safest cities in the world. I really walk around there freely at night or day. I wouldn’t necessarily suggest you go to Central Park at two in the morning…Ahh there are a lot of druggies there and you know, they get a little crazy sometimes but generally New York is very safe. There’re a lot of police. You can practically- even as a girl - walk there at night and day. I never really heard any like bad things happening to my friends, and I have a lot of friends there. Yes, I think it (the 9-11 attacks) really cleaned up a lot of districts.”

David Garrett started playing the violin at age 4. By the time he was 10, he had his first public concert with the Hamburg Philharmonic Orchestra. As the years went by and his talents further nurtured, Garrett’s mentors included the late and legendary violinist Yehudi Mehuhin as well as Itzhak Perlman. Garrett now has a debut album to his name – it’s titled Free and it contains a new take on the classical favourites, musical themes and an orchestrated version of the Metallica heavy-metal hit Nothing Else Matters. I asked Garrett what Itzhak Perlman thinks of his crossover leanings..

“So far he hasn’t really said anything against it. You know, in the end, he did a lot of crossover himself when he was younger and he still does a lot of film music and crossover stuff. So I think he knows from his own experience that in order to enjoy your career and enjoy being a musician, it’s sometimes important to just not necessarily follow the strict path but also you know, do the things which your heart tells you to do even tough maybe it's not necessarily the most conservative kinda way and a lot of people will probably tell you, you know, why not do another Bach or Beethoven recording.”

“But on the other hand, you have to make sure that you have a good time yourself and then second of all, it's very important to build up your audience and for me, it was always primarily interesting to reach young people. I think that's what I was trying to do with this recording. Give them something they're familiar with and hopefully get their attention.”


Posted by:Someone
Posting date:01.01.2008 - 20:03:00
Article date:01.09.2007
Source:click here
Subject:"He is an exceptional Talent"
Content:

"I am delighted to have watched David Garrett`s development from the age of eleven. He is surely going to have a resounding presence on the music world of the 21st century."
(Zubin Mehta)

"He is an exceptional Talent"
(Daniel Barenboim)

"He is a wonderful violinist with excellent technique and natural musicianship. He will always perform with artistry"
(Itzhak Perlman)

"I consider David Garrett one of the finest young violinists in the world".
( Ida Haendel )

"He is one of the most gifted fourteen year olds I have ever heard, and I have to remind myself that he is indeed only fourteen!"
(Isaac Stern - 1995)

David Garrett has been back, playing in international concert halls, for two years now. After his several year “hiatus”, recommendations by Zubin Mehta prompted invitations leading him to Milan (February 2007, Brahm’s Violin Concert) and to Israel in May 2007, where he played 11 concerts with the Israel Philharmonic Orchestra (the Mozart Concert in G Major, Vivaldi’s Four Seasons and the Paganini Concert No. 2 “La Campanella”). The conductor was George Pehlivenian, who immediately invited him to play with his orchestra in Ljubljana in October 2008.

Further orchestra engagements with the Orchestre National de Lyon under the direction of Jun Märkl and the Orchestre Philharmonique du Luxembourg under the direction of Sir Neville Marriner lead David Garrett to Portugal, Spain, Italy, France, Luxemburg, Croatia, Israel, the US, Brazil and Japan. In February 2008, David Garrett will tour the US with the Israel Chamber Orchestra. With Sir Neville Marriner, he will once again perform the Violin Concert by Elgar in April 2008.

The latest reviews about him wrote:

... The violinist David Garret born in Aachen and now living in New York, presented himself as both virtuosic and vivacious. He played Vivaldi’s “Summer” with forceful and coarse violin bow strokes, and Pablo Sarasate’s tricky “Zigeunerweisen” with admirable nonchalance. He showed his lyrical side in the Violin Romance in F Major by Ludwig van Beethoven and the Metallica classic “Nothing else matters”, which, played by Garrett, sounded akin to Puccini... Westdeutsche Allgemeine Zeitung, August 2007

„But the sonatas he interpreted before, David Garrett played even more overwhelmingly. Why? Because the young star violinist, who is working on his comeback after his four-year-study with Itzhak Perlman, is able to draw an incredibly light-sounding, extremely fast-vibrating sound from his Stradivari. Garrett played the Thuner Sonata by Johannes Brahms with stunningly beautiful sounds and with relaxed virtuosity. What one perceived, was an extremely handsome artist producing beautiful sounds. But: There certainly was no violin-playing dressman on stage, but rather a great violinist who during his studies has sometimes earned his living presenting men’s fashion. Garrett’s violin play is especially made for the Brahms Sonata. He opts for the expressiveness of melodies, the tender and sentimental gesture and thus develops a smoothly flowing, somehow serene interpretation. Even the highlights of movements he play are somewhat restrained, there are never moments of uncomely forcefulness.“

Donau Kurier, March 2007

"A fully successful start, whose positive impression was not at all impaired by the interpretation of Dvorák’s Violin Concert A Minor. David Garrett ... let himself be inspired by the archaic power of the composition, gave his intense sound the sweetness necessary, but did not show off the high virtuosity of the piece. He rather developed the flowing melos of Dvorák’s language of sound in a very natural manner. He played the Adagio in a wonderfully dark timbre, and in the final Allegro giocoso he was so gripped by his enthusiasm, that it resulted in a playful exchange with the orchestra – and in a Paganini encore, requested vehemently by an enraptured audience." Frankfurter Neue Presse – September 2006

"The rest of the programme was real Schumann: a demanding violin concerto, to which a highly praised soloist, the violinist David Garrett, brought agility and virtuosity - with a slow movement written by a composer at his highest level, where we heard the soloist and orchestra at their best (sonority, expression and poetry, phrase after phrase) ...." Público, Portugal – July 2006

Another of David Garret’s great loves is chamber music. His partners at the piano include Itamar Golan, Daniel Gortler and Milana Chernyavska. During the 2007/08 season, recital tours led him to various countries, including Germany, Korea and Japan.

Developing young people’s enthusiasm for classical concerts is close to David Garrett’s heart. To do that, he likes to give regular interviews about his concerts, which together with pictures arouse interest among the young audience. David Garrett is very photogenic and he benefits from his experience as a model, which he gained during his years in New York.

His latest release of “free” at DECCA equally pursues this aim of arousing young people’s interest in classical music. The release contains arrangements and compositions of his own of pieces and melodies that have accompanied him in his life so far. The CD is in the pop charts in South East Asia.

Together with his band, consisting of keyboard, guitar and drums, he gives concerts that include classical sonatas in the first part (accompanied by a concert grand piano) and arrangements and compositions, as well as Nothing Else Matters by Metallica in the second part.

David Garrett was born in Aachen as son of German-American parents and received his first violin lessons at the age of four. He had his first public concert at the age of 10 with the Hamburger Philharmoniker under the direction of Gerd Albrecht.

In 1992, he began to work with the great Polish violinist Ida Haendel, who significantly influenced his artistic development.

Afterwards, an unprecedented “prodigy career” begins, leading David Garrett to all major cities in Europe, America and Japan to perform with the most distinguished orchestras and conductors, including the London Philharmonic Orchestra, Los Angeles Philharmonic Orchestra, Israel Philharmonic Orchestra, Russian National Orchestra, Orchestre National de Paris, the Mozarteum Orchester, the Chamber Orchestra of Europe, the Staatskapelle Dresden and many others. Partners at the music stand included Claudio Abbado, Zubin Mehta, Giuseppe Sinopoli, Herbert Blomstedt, Charles Dutoit, Eliahu Inbal und Mikhail Pletnev, to name a few. In 1996, David Garrett performed the Elgar Violin Concert with the Royal Philharmonic Orchestra under the conduction of Sir Yehudi Menuhin in the Wiener Musikverein.

At the age of 18, David Garrett moved to New York, where he became one of the first students of Itzhak Perlman at the Juilliard School. Working with Itzhak Perlman, David Garrett found a way to his own musical language and gains new confidence and the willingness to lead a life for music. Stylistically flexible, he developed a versatile repertoire from Bach and Mozart, including the great classical violin concerts of Beethoven, Brahms, Sibelius and Tchaikovsky and the rarely played violin concerts by Conus, Schumann and Dvorák up to the virtuosic pieces by Waxman, Ravel and Saint-Saëns, commending him worldwide as an exceptional soloist with infatuatingly pure sounds and youthful spirit.

In 1994 at the age of 13, David Garrett signed an exclusive contract with Deutsche Grammophon as their youngest artist. The following recordings have been released: Mozart Violin Concerts with Claudio Abbado (1995); the 24 Paganini Caprices (1997), the Violin Concerts by Tchaikovsky and Conus with the Russian National Orchestra under Mikhail Pletnev (2001), “Pure Classics” as Compilation of his first recordings (2002).

David Garrett plays a Stradivari violin from 1710 as well as a violin by Giovanni Battista Guadagnini from 1772.


Posted by:Someone
Posting date:10.01.2008 - 20:12:25
Article date:01.09.2007
Subject:David Garrett, Violino
Content:

"Estou impressionado com o desabrochar do talento de Garrett desde a sua estréia, aos 11 anos; ele certamente será um dos nomes de peso na música do século que entra"- Zubin Mehta

"Um talento excepcional” - Daniel Barenboim

"Ele é um incrível violinista com técnica excelente e musicalidade natural" - Itzhak Perlman

"Considero David Garrett um dos melhores jovens violinistas do mundo" - Ida Haendel

"Ele é um dos mais talentosos jovens violinistas que eu já ouvi, e tenho que me esforçar para lembrar que ele tem apenas 14 anos!" - Isaac Stern - 1995

Criança prodígio, aos 13 anos Garrett tornou-se o mais jovem artista exclusivo do selo Deutsche Grammophon; sua carreira internacional se solidificou a partir daí. Aos 17 anos, se retirou da cena musical e repensou a carreira. Foi um dos primeiros alunos de Itzhak Perlman na Julliard School. Aos 23, formado com Stern, voltou à cena. Sua carreira desde então tem sido fortemente internacional – com solos nas Orquestras National de Lyon (com Jun Märkl) e Philharmonique du Luxembourg (com Sir Neville Marriner), além de concertos em Portugal, na Espanha, França, Croácia, Israel, USA, Brasil e Japão.

David Garrett nasceu em Aachen, de ascendência alemã e norte-americana. Começou a tocar violino aos 4 anos e aos 10 fez seu primeiro concerto, com a Hamburg Philharmonics sob regência de Gerd Albrecht. Em 1992 Garrett começou a estudar com a violinista polonesa Ida Haendel. Aos 18, mudou-se para NY. Com Perlman, desenvolveu um repertório versátil, indo de Bach e Mozart aos grandes concertos clássicos de Beethoven, Brahms, Sibelius e Tchaikovsky, além dos raramente tocados concertos de Conus, Schumann e Dvorák, às peças virtuosísticas de Waxman, Ravel e Saint-Saëns Entre as orquestras com as quais trabalhou estão a London Philharmonic Orchestra, a Los Angeles Philharmonic Orchestra, a Israel Philharmonic Orchestra, a Russian National Orchestra, a Orchestre National de Paris, a Mozarteum Orchester, a Chamber Orchestra of Europe, a Staatskapelle Dresden e muitas outras. Entre os regentes com os quais tocou estão Claudio Abbado, Zubin Mehta e Charles Dutoit, entre outros. Em 1996, David Garrett tocou o Concerto para violino de Elgar com a Royal Philharmonic Orchestra, sob a batuta de Sir Yehudi Menuhin na Wiener Musikverein. Garrett também está envolvido com música de câmera, tocando com músicos tais como os pianistas Itamar Golan, Daniel Gortler e Milana Cernyavska, entre outros. Entre seus discos estão: Mozart’s Violin Concerts com Claudio Abbado (1995); Os 24 Paganini Caprices (1997), os Concertos para Violino de Tchaikovsky e Conus com a Russian National Orchestra com Mikhail Pletnev (2001), “Pure Classics” as compilation of his first recordings (2002). Seu último lançamento é o album Free, pela DECCA.

David Garrett violino Stradivari (1710) e um Giovanni Battista Guadagnini (1772).


Posted by:Someone
Posting date:04.03.2008 - 18:17:11
Submitted by:Sylvia
Article date:27.07.2007
Source:click here
Subject:Violinist David Garrett performs ''None but the Lonely Heart'' Op 6, No 6 by Tchaikovsky with Slovenia Symphony Orchestra
Content:

Born in Aachen of German-American parentage, David Garrett developed an interest in the violin at the age of four, making his first public appearance at the age of 10 with Gerd Albrecht and the Hamburg Philharmonic Orchestra.

In August 1992, he began working with the great polish violinist Ida Haendel, who has guided his artistic development ever since. David recently moved to New York as one of the first students to study with Itzhak Perlman and has now graduated from the Julliard School. The experience of working with Perlman has helped him to find himself as a musician, to develop his musical voice and to prepare himself for a life of music.

"He is one of the most gifted fourteen year olds I have ever heard, and I have to remind myself that he is indeed only fourteen!"Isaac Stern - 1995

Since childhood David has performed in all the major cities in Europe and Japan, performing with international orchestras. In recent years this has included the London Philharmonic Orchestra, the Los Angeles Philharmonic Orchestra, the Israel Philharmonic Orchestra, the Russian National Orchestra, the Orchestre National de Paris, the Mozarteum Orchestra, the Chamber Orchestra of Europe, the Staatskapelle Dresden and many others, under the direction of conductors such as Claudio Abbado, Zubin Mehta, Giuseppe Sinopoli, Herbert Blomstedt, Charles Dutoit, Eliahu Inbal and Mikhail Pletnev. In 1996 David performed the Elgar Violin Concerto under the direction of Yehudi Menuhin in the Vienna Musikverein.

In 1997, together with the Munich Philharmonic Orchestra under Maestro Zubin Mehta, David performed in Dehli and Bombay to mark the fiftieth anniversary of India’s Independence. His debut in Berlin in 1999 with the Rundfunk-Sinfonieorchester under the direction of Rafael Frühbeck de Burgos received critical acclaim; he was then invited to perform at the Expo 2000 in Hannover.David signed an exclusive contract with Deutsche Grammophon in 1994 – their youngest soloist ever. With this label he released his second CD – the Mozart Violin Concertos with Claudio Abbado (1995); the 24 Paganini Caprices followed in 1997. The recording of Tchaikovsky Violin Concerto with the Russian National Orchestra under Pletnev, was released to critical acclaim in Autumn 2001 and to coincide with his Night of the Proms tour in Autumn 2002. Deutsche Grammophon released “Pure Classics”, a compilation of his first recordings.Recent engagements have included the Flanders Philharmonic, Lisbon Sinfonietta, Jerusalem Symphony Orchestra/Salomon, Rotterdam Radio Symphony Orchestra, Gulbenkian Orchestra in Lisbon, Hong Kong Sinfonietta, the Tallinn Chamber Orchestra/Mustonen and the Academy of St. Martin in the Fields (at the Barbican as part of the Mostly Mozart Festival). Last season David performed in over 50 concerts on the Night of the Proms tour in Germany, Belgium and the Netherlands and also with the Orquesta Nacional de España/Gloria Ramos, Castilla y León Orchestra/Alejandro Posada and Deutsche Oper Orchestra Berlin/Eiji Oue.In the 2003/04 Season he embarked on a successful tour of Japan with the Lahti Symphony Orchestra/Vanska (Sibelius) and performed the Tchaikovsky Concerto to great critical acclaim with the Liège Orchestra in the Theatre de Champs Elysee in Paris under Louis Langrée. This season also includes performances with the Flanders Philharmonic/Callegari, The Royal Philharmonic Orchestra/Slatkin and recitals with Itamar Golan. 2004/05 David performed the Tchaikovsky concerto with The Royal Philharmonic Orchestra and Leonard Slatkin in Potsdam which has resulted in him being invited to perform with the orchestra and Slatkin in London in 05/06. This season David will perform in Tokio, Paris, Strasbourg, Buenos Aires, London, Florence, Rio De Janeiro, Seoul, Mexico City, Taipei and Montreal.

"He is an exceptional talent"-Daniel Barenboim

"He is a wonderful violinist with exellent technique and natural musicianship.He will always perform with artistry.“-Itzhak Perlman

"I am delighted to have watched David Garrett`s development from the age of eleven. He is surely going to have a resounding presence on the music world of the 21st century."-Zubin Mehta


Posted by:Someone
Posting date:10.01.2008 - 20:27:43
Article date:22.06.2007
Source:click here
Subject:David Garrett @ MTV Asia
Content:

David Garrett is only in his mid-twenties, but this German-born world-class violinist boosts a list of achievements that many of us can only look on in awe. At the tender age of four, little David picked up the violin and there's no looking back since. To date, David has performed countless classical concerts and played for the Popes, the princes, and the presidents. Word has it that the German president was so impressed by young David when he was 11 that he presented David one of the most sought after violins in the world -- a 1718 Stradivarius that's said to be worth 4 millions U.S. dollars.

     

Blessed with both good looks and talent, this violin virtuoso just released his debut album titled Free on Decca Records. Despite his imposing achievements, the jetlagged David was still all smiles when he dropped by the MTV Studios on Thursday (June 22). Want to find out more about David whom the Hong Kong press has termed "the Beckham of classical music?" Read on!

MTV: Hello David! I heard you have been drinking Red Bull for the whole day.
David Garrett: Yes, I am going to continue that until I collapse on my bed! (Laughs) Tomorrow (Friday) is also like crazy, busy. It's not much of a relaxing kind of trip.

MTV: I'm sure you are used to it though. David Garrett: You can never get used to it. Trust me. You do it because it's fun. But it's still work.

MTV: You picked up the violin at four years old. How did you know that the violin is the instrument for you?
David Garrett: You don't really know much when you are four. I didn't know, to be quite honest. Until I grew up and became much older and then I thought, "Yeah, I could do this."

MTV: But not much older right? By eight, you already had a management team behind you.
David Garrett: That wasn't necessarily done by me. That was more of my parents' influence and decision for me to go public. I didn't mind it. I think I didn't. It's all blurry, the past. (Laughs)

MTV: Do you still keep to your practice regime of seven hours a day?
David Garrett: It's not really possible most of the time now. You play, but there's not really like a possibility to do it seven hours a day. Like today, I don't even know if I want to practise seven hours.

MTV: How do you keep up normally?
David Garrett: I try to sneak it a few hours if it's not too bad. You can kind of sustain the momentum when you practise two or three hours. You can always go to a higher level. Technically speaking, I was really good when I was 15 or 16. That was really the top. Not to say that I'm playing worse now, but there's nothing much you can do, physically. Musically, yes. You have to have a good instinct when you were a kid in order to play very well. But the older you get, the better you refine these things and be more musical through the process.

MTV: The Hong Kong press has called you "the Beckham of classical music." Do you like the accolade?
David Garrett: I don't know where that came from!

MTV: Is it the hair?
David Garrett: Maybe the hair, I don't know. It's a great compliment. He's a good looking guy and I see it as something positive. You got to have something to make people take an interest in you. You can be the most phenomenal player, but if you don't have something that gets you out of the bunch, then it's sometimes difficult to establish a career. So it's good thing. I can live with it! (Laughs)

MTV: Do you think image is important, especially for classical musicians in today's superficial world?
David Garrett: Image helps create something that doesn't necessary have to do with what your music or your art. But it does give you something more, which makes it interesting for marketing purposes. I don't want to say it's a business, but when you really want to succeed and you really want to break through and make people listen, you have to do whatever it takes. In the end, I don't mind it at all, as long as I can play for people and reach young people as well. It's good by me!

MTV: And because of your good looks, you also dabbled in modeling when you were studying at Juilliard.
David Garrett: I haven't really done that in two years! It's quite time consuming! You have to go for castings all day and some you get and some you don't. It's a lot of work. People underestimate what models actually do in that business, and you always have to make sure you keep up. I'm not going to say it's tough but it's not easy!

MTV: Do you plan to go back?
David Garrett: No! I'm done with that. I have enough friends from the industry now. It's good. It was a necessity for that time period but now I'm moving on.

MTV: I read that you got expelled from the Royal College of Music in London for non-attendance and break-ins!
David Garrett: Yeah I was! (Laughs) But it's not really a non-attendance thing. I actually got caught breaking in the practice room. I was living in an apartment then and my neighbors were always complaining about me practising. And I did have a couple of concerts coming up and I couldn't practise past 7pm in my apartment. So I had to come up with a possible way to practise at school. There were a couple of practice rooms which were meant for the teachers and obviously, you need to have a key for it. But it's kind of easy to push the credit card in and open the door easily. A few of my friends actually did the same thing but I got caught!

MTV: Do you listen to other music apart from classical?
David Garrett: You know, I practise about a few hours everyday if I can do it and I don't really listen to classical music at all because I'm already listening to classical music three or four hours a day when I'm practising. The rest of the time I try not to, just to keep my ears fresh.

MTV: So what kind of music do you listen to then?
David Garrett: I got into Muse and the White Stripes! But they are not really doing anything, are they?

MTV: The White Stripes just have a new album called Icky Thump out!
David Garrett: Do they? I don't know about that! You see, I've been traveling and nobody tells me these things! I have to get it! (Laughs) I just like rock in general -- independent rock and also some R&B.

MTV: The German President got you a 1718 Stradivarius violin when you were 11 and it's said to be worth 4 million U.S. dollars! Do you bring it along everywhere you perform?
David Garrett: I try to carry it everywhere. I'm a pretty tough guy and I can defend myself. Worse come to worse, I will fight for it! It's a natural thing for me. I won't go to any country and perform with anything second-grade. I always have to bring something good.

MTV: The Washington Post recently did an experiment with another world-renowned violinist Joshua Bell whereby he was busking incognito in a subway and only a few paid any attention to him. So what's your take on the result of the experiment?
David Garrett: It would have been the same with all kinds of genre. You put a good guitarist or a good singer and people don't necessarily realize it if it's not presented the right way. It's a natural thing and it doesn't necessarily have to do with classical music. If you put a first class rock guitarist there, people wouldn't have paid attention too. It's just the environment. Plus, it was done at a place where people shuffle to work. I would be one of the passer-bys and have my music on and would not have paid any attention to what's happening around me. It's not an insult to the artist. But if you don't put a spotlight on and give it a right environment to be presented, it's harder to recognize it.

MTV: How approachable do you think classical music is to the everyday man, as compared to people with higher income earnings?
David Garrett: That is something that I'm really upset about most of the time. A lot of classical concerts are priced very high. On top of that, it's an environment where young people don't feel the most at home with. So this combination is fatal for young kids. I'm really trying to go away from the traditional concerts halls, if there's a possibility. I personally prefer to perform somewhere more chilled, where it's a lounge or something. First of all, music is there for people to enjoy it. And if you want to have young kids, you have to bring them into a place where they enjoy it. It's not going to be any fun for them in a concert hall, especially when they have to pay so much money for it.

MTV: How do you think talent and musicianship can be measured in your opinion?
David Garrett: I always say talent is a combination between instinct and work. You can have a lot of talent and a lot of instinct, but if you don't put the work in, it's not going to get you very far. When we talk about first class musicianship, you have to put the effort in and study for a few years and work really hard, and still continue to study for the rest of your whole life. It's not something you do and then you have it. It's something you have to do every day and you have to wake up and just live it. That's the only way to do it.


Posted by:Someone
Posting date:10.01.2008 - 20:06:05
Article date:21.06.2007
Source:click here
Subject:Fanreport
Content:

David Garrett's an evening of violin serenades started off disappointingly. It's definitely wasnt his fault coz he tried his darn best to please the audience. the event management and its engineers were lousy. On his first song, Carmen Fantasie, his violin part could not be heard over the overly-loud background music and then the mic just went dead. i thot it was silly but he kept on playing. it's like watching a foreign voice-over. u hear musical instruments other than violin but u see this guy strutting away his antique violin on stage. i gotta give it to him for keeping his cool and not breaking any sweat other than from the heat. a brief stop to chat with a dumb symphony dj, it went on again for the second song which i cant remember the name, it could be Paganini Rhapsody. he played a few notes before leaving the stage playing unplugged nearer to the audience in hope we'd be able to hear his violin. it was rather soft. he went on to play an impressive solo to verify his talent before La Califfa by Ennio Morricone. it's just not happening! he decided to play solo again which was good tho soft after that giving time to the dim-witted sound system engineers to sort things out. and they finally did. he came back with Duelling Banjos. It was ok considering the sound system still did not compliment the mic well. anyway, he went on to play almost all the other songs in his current Free album such as his self-written Serenade, The Flight of Bumble Bee, Somewhere (of West Side Story, note: Il Divo also hv this song!) and (get this!) Metallica's Nothing Else Matters! before his Csardas Gypsy Dance finale, he has obligingly re-played Carmen and La Califfa. how nice! afterwards, he apologised for the bad sound system and said he hoped to come back again (i hope so but it'll better be at a recital or concert hall nx time). then he simply disappeared before we got the chance to get him to sign our cd. anyway, we listened to his cd in ren's car on our way to holland v for dinner. it's simply very much better in an enclosed space. and he was playing the Giovanni Battista Guadagnini violin not the Stradivarius which the dj kept saying he does. oh well ... that's the sexy albeit one embarrased kurt-cobain-lookalike, mr david garrett, for u. he's still such a dish tho ...


Posted by:Someone
Posting date:10.01.2008 - 20:07:31
Article date:18.06.2007
Source:click here
Subject:David Garrett: «Col violino sposo Paganini e i Metallica»
Content:

Se un intoccabile del violino come Itzhak Perlman, e prima ancora Yehudi Menuhin, hanno puntato su di lui un motivo ci sarà. E il 27enne tedesco-americano David Garrett ha ripagato la loro fiducia. È un violinista extraordinaire che suona con l’Orchestra Nazionale Russa e Zubin Mehta, con la Filarmonica di Londra e con Pletnev. Uno tosto insomma. «Ma il primo con cui ho registrato è Abbado - sottolinea Garrett - che con poche parole e pochi gesti mi ha insegnato molte cose». Biondo, bellissimo, ex fotomodello ma soprattutto piccolo genio della musica classica da quando aveva quattro anni, oggi Garrett è famoso per il suo «vizietto». Ha messo insieme alcune sue composizioni, Il volo del calabrone di Rimsky-Korsakov, temi da West Side Story, pezzi dei Metallica, l’hit country Dueling Banjos (quello di Un tranquillo weekend di paura) e li ha riuniti nell’album Free, avvicinando il classico alla sensibilità pop odierna e viceversa. «Tutti considerano la musica classica intellettuale e colta; è vero ma per me è un dramma - racconta Garrett - io voglio avvicinarla ai giovani trasformando in classici brani dei Metallica come Nothing Else Matters». Un progetto ambizioso e un po’ furbesco. «No, io so cosa sia l’isolamento. Ho iniziato a suonare il violino a quattro anni e avevo contatti solo col maestro, con mia madre ballerina d’opera e papà, severo avvocato. Quando sono andato al liceo mi sono sentito un Ufo. Lì ho scoperto i Led Zeppelin, Jimi Hendrix, mi si sono aperti nuovi mondi». Quindi folgorato dal rock... «Dalla sua forza emotiva e dalla sua immagine. Ma io ho continuato per la mia strada. Mi sono trasferito a New York, iscritto alla Juilliard School of Music e ho studiato con Pearlman. Da lui, che è il più grande, ho imparato che la buona musica non ha confini. Pearlman ha vinto un Grammy con Barenboim suonando Brahms, ha suonato jazz con Oscar Peterson e scritto le musiche di Schindler’s List. Io vorrei fare lo stesso percorso, diffondendo la cultura classica. Vorrei proiettare Paganini nel futuro».

Si dice che parteciperà al Festivalbar, una mossa un po’ ardita. «Al 99 per cento ci sarò, e sarà un’occasione unica per avvicinarmi a una valanga di gente, diversa da quella delle sale da concerto». Non è che tutto questo successo deriva anche dal suo fascino, in fondo lei ha fatto il modello. «Sì, per divertimento e senza prendermi troppo sul serio, ho lavorato per Armani per capire com’era la vita. Ora voglio essere un artista moderno, che sperimenta nuove strade senza abbandonare la tradizone classica. Per questo sto già componendo nuovi brani “seri”».


Posted by:Someone
Posting date:10.01.2008 - 20:08:50
Article date:06.06.2007
Subject:David Garrett: l'album di debutto
Content:

Dopo aver conquistato l'attenzione del pubblico mondiale come il più dotato bambino prodigio della scuderia di allievi del grande Yehudi Menuin, DAVID GARRETT ha continuato i suoi studi a New York con Itzhak Perlman, altro mostro sacro del violinismo mondiale, avvicinandosi anche alla composizione. Fin qui una carriera classica di tutto rispetto ma…David Garrett non si è fermato: proprio grazie alla composizione ha trovato l'ispirazione che lo ha portato è proporsi in una veste nuova, libera dagli stereotipi del violinista classico.

Così nasce FREE, il suo album di debutto su Decca: una miscela di temi celebri proposti in una veste inedita dove il violino è al servizio dell'originalità, dell'imprevedibilità, in pratica LIBERO da ogni vincolo: una svolta POP che ha generato un progetto estremamente affascinante.

Basta ascoltare gli arrangiamenti de LA CALIFFA di Morricone, NOTHING ELSE MATTERS dei Metallica, SOMEWHERE da West Side Story e IL VOLO DEL CALABRONE di Rimsky-Korsakov per scoprire l'originalità e il talento di David Garrett.


Posted by:Someone
Posting date:10.01.2008 - 20:30:07
Article date:31.05.2007
Source:click here
Subject:Garrett, il violinista...modello - Pubblica il primo disco "Free" (Source incl. Video!)
Content:

Bello come un modello (è apparso su Vogue e posato per Armani), a soli 25 anni David Garrett è considerato un violinista di talento. Ha cominciato a suonare a 4 anni e poi si è staccato dalla musica classica per esplorare il pop. E' uscito il primo disco "Free" in cui David ha rivisitato alcuni classici "pop" con il suo violino da "Nothing else matters" dei Metallica a "Somewhere" tratto da "West side story". Omaggio a Morricone con "La califfa".

David Garrett ha cominciato a suonare il violino solamente a quattro anni. Suo padre gliene ha regalato uno e senza aver fatto preso nessuna lezione ha cominciato a suonare diventanto velocemente uno dei violinisti più stimati del mondo della musica classica, esibendosi in assoli o assieme alle orchestre più prestigiose del mondo. "Dopo due mesi passati a suonare senza insegnante - ha detto ridendo Garrett - sono addirittura diventato più bravo di mio fratello che ha preso lezioni da sempre! I miei genitori hanno voluto e insistito però che io andassi da un maestro di musica".

Il musicista ha studiato dagli insegnanti più prestigiosi della Germania (il papà è un avvocato tedesco mentre la mamma è americana ed era una ballerina classica) e si è esibito davanti ad un vero e proprio pubblico a soli 4 anni. A otto anni il fenomeno ha suonato con orchestre del calibro della London Philharmonic, Los Angeles Philharmonic e Russian National Orchestra, attirando la curiosità e l'attenzione di direttori famosi come Zubin Mehta, Claudio Abbado e Mikhail Pletnev.

Fino a 14 anni David ha ascoltato musica classica poi ha scoperto anche il mondo del pop e del rock. "Mi ricordo - ha confessato l'artista - che ho cominciato a sentire anche brani di Hendrix e i Led Zeppelin…”. E' stato così che ha imbracciato la chitarra ed ha iniziato a comporre brani suoi. David ha cominciato a staccarsi dalla dimensione classica, chiedendo ai suoi di frequentare un'altra scuola di musica, la Juilliard di New York, per entrare in contatto con i musicisti della sua età che si occupassero anche di altri generi. E' cosi che piano piano Garrett è entrato nello showbusiness apparendo anche per la sua bellezza statuaria su Vogue o posando per Armani. Ha cominciato anche a far surf, "ma solo per far colpo sulle ragazze" ha specificato. Il suo primo disco si intitola "Free" ossia "Libero" proprio come Garrett si sente nella musica: di spaziare dalla classica al pop.


Posted by:Someone
Posting date:10.01.2008 - 20:09:47
Article date:19.05.2007
Source:click here
Subject:David Garrett, violinista della "MTV generation" sul palco del teatro Olimpico
Content:

VICENZA
Saranno pure bravi Massimo Quarta (che ha suonato all'Olimpico l'11 maggio) e Uto Ughi (che ci suonerà il 30 giugno), ma il più fico dei tre violinisti invitati a Vicenza per gli appuntamenti sinfonici de "Il Suono dell'Olimpico" è David Garrett. Garrett ascolta Bach e i Metallica, Beethoven e Jimmy Hendrix, Brahms e i Led Zeppelin. Ha venticinque anni, capigliatura affidata da un competente hair stylist, look dégagé, accenno di barba spruzzato su mento e gote, sorriso accattivante, fisico allenato. Si definisce un artista della "MTV generation", qualunque cosa significhi. Controllate il suo sito (www.david-garrett.de): sembra di sfogliare Vogue o Vanity Fair. Salirà sul palco dell'Olimpico stasera nel quarto appuntamento della rassegna di primavera che inizierà alle 20. A fare da cornice al suo show l'Orchestra del Teatro Olimpico diretta da Giuseppe Lanzetta. La musica classica si affida al marketing per diventare trendy. Sembrano passati secoli da quando Nigel Kennedy, tra i primi, abbandonò il rigore del frac, per un vestire più casual. Però aveva ragione lui: le sue Quattro Stagioni arrivarono in cima alle classifiche dei dischi più venduti in Gran Bretagna. Precisiamo: Nigel Kennedy, per quanto "trasgressivo", è bravo. Anche Garrett, tedesco di nascita, è bravo. Uno che ha suonato con Yehudi Menuhin, Isaac Stern, Itzhak Perlman, che si è diplomato alla Julliard, che gira il mondo, non può essere un fenomeno da baraccone. Lo stesso Paganini, istrionico quanto altri mai, ha conquistato la fama non solo in virtù delle sue superiori capacità musicali. Un alone diabolico, abilmente evocato, deve avere avuto il suo peso. Non è forse un caso che Garrett abbia scelto di esibirsi sulle note del Concerto per violino e orchestra n. 2 in si minore op. 7 di Paganini, quello noto con il titolo di "La Campanella" dovuto all'uso insistito del triangolo che, nel terzo tempo, si fa interlocutore del violino. Non ci sono buone ragioni per pensare che il Garrett style sia dannoso alla causa della musica, che le folle plaudenti dei concerti rock siano incompatibili con la classica. Se la sopravvivenza del genere passa per i jeans strappati, occorrerà superare il disagio e farsene una ragione. Completano il programma del concerto il Valse Triste di Sibelius e le due suite dal Peer Gynt di Grieg. Entrambe le opere nacquero da musiche di scena per due spettacoli teatrali. Il finlandese trasse il poema sinfonico Valse Triste dalla musiche per la pièce teatrale "Kuolema" (Morte) del fratellastro Arvid Järnefelt. Grieg scrisse le musiche di scena per il Peer Gynt di Ibsen riassunte nelle due suite di quattro pezzi ciascuna incluse nel programma.


Posted by:Someone
Posting date:10.04.2008 - 13:08:20
Submitted by:Tabitha
Article date:27.04.2007
Source:click here
Subject:David Garrett : jeune, « fun », et talentueux !
Content:

Aujourd’hui âgé de vingt-trois ans, le violoniste new-yorkais David Garrett fait son retour sur les grandes scènes internationales, après une retraite provisoire de quelques mois. Né à Aix-la-Chapelle de parents germano-américains, l’enfant prodige qui était sous contrat exclusif auprès de DGG à treize ans, ancien élève d’Ida Haendel et d’Itzhak Perlman à la Juilliard School …

Il déploie aujourd’hui un répertoire varié allant de Bach à Mozart en passant par les grands concertos classiques pour violon de Beethoven, Brahms, Sibelius et Tchaïkovski, et les concertos pour violon plus rarement interprétés de Conus, Schumann et Dvorák. David compose également ses propres œuvres, et travaille à des arrangements d’œuvres classiques, comme Carmen de Bizet, dans son dernier album. Une diversité qui en fait un soliste mondial d’exception, séduisant par un son d’une pureté envoûtante ainsi que par une verve juvénile.

ResMusica : David, vous avez commencé votre carrière à l’âge de dix ans, lors d’un concert sous la baguette de Gerd Albrecht à Hambourg. Vous rappelez-vous de ce que le petit garçon que vous étiez a ressenti en entrant en scène ?
David Garrett : Je pense qu’on est très philosophe quand on est jeune. Je ne me posais pas de questions, ça ne m’intriguait pas, ce devait être fait, et je l’ai fait. Il n’y avait pas de pression, cela me semblait naturel à l’époque.

RM : Vous avez fait une pause dans votre carrière à l’âge de dix-huit ans ; qu’est-ce que cela vous a apporté ?
DG : J’avais un besoin nécessaire de réfléchir sur moi-même, sur le métier de violoniste. C’était une bonne décision, et le bon moment pour le faire aussi. J’ai décidé de passer mon diplôme à la Juilliard School pendant cette pause. Je voulais aussi être certain de vouloir me lancer dans ce métier exigeant, et qui engagerait ma vie entière.

RM : Et qu’en avez-vous déduit sur le métier de violoniste ?
DG : Pour faire carrière, vous devez beaucoup travailler, être prêt dans vos programmes, être professionnel. Pour être un bon violoniste, ensuite, il faut trouver de bonnes interprétations, et surtout, sa voie, son style personnel.

RM : Vous n’êtes pas seulement un soliste réputé, vous aimez aussi la musique de chambre, et vous composez. Comment faites-vous pour marier toutes ces carrières ?
DG : Je suis quelqu’un qui travaille beaucoup, je dirais vingt-quatre heures par jour ! Je me lève souvent très tôt, et il n’est pas rare que je me couche à deux heures du matin… mais à cause du travail ! Je veux vraiment donner le meilleur, et c’est par le travail que je peux y arriver.

RM : Considérez-vous ces différentes facettes du métier complémentaires ou pas ?
DG : Je dirais que ce sont des voies différentes, car les enjeux ne sont pas les mêmes. J’adore être soliste, travailler avec orchestre, c’est excitant, mais il y a des responsabilités. Mais faire de la musique de chambre, c’est très amusant !

RM : Parmi vos professeurs, Isaac Stern, Itzhak Pearlmann, et Ida Haendel, qui a le plus influencé votre jeu ?
DG : Ils ont tous eu une influence, je ne peux pas dire qui m’a le plus appris et donné. J’ai beaucoup travaillé avec Ida Haendel, énormément même. Mais Itzhak Pearlmann m’a aussi beaucoup appris. Je dirais donc : Ida Haendel et Itzhak Pearlmann.

RM : Dans votre répertoire, on trouve des œuvres traditionnelles, comme les Concertos de Brahms ou Tchaikovski, mais aussi des pièces moins données, comme les œuvres de Conus, le Concerto de Schumann, etc. Est-ce un devoir pour vous de vous concentrer sur des choses moins connues du public, ou un intérêt personnel pour ces pièces ?
DG : J’aime jouer les pièces que j’aime, voila. Je ne jouerais jamais quelque chose que je n’aime pas, juste parce que c’est « le » répertoire, et que je devrais le faire. Si j’inscris une pièce dans mon programme, c’est que je l’aime, et que j’ai plaisir à la travailler et à la jouer. J’ai vraiment beaucoup de joie à jouer Schumann ou Conus, ce sont des pièces vraiment intéressantes.

RM : Votre dernier album, « FREE », est une sorte de « melting-pot » musical, on y trouve des pièces classiques, vos propres compositions, et même, un remix d’une chanson de Metallica ! Quelle était votre intention en réalisant cet album ?
DG : Je voulais faire un album de qualité, mais qui soit accessible aux jeunes. C’est en fait de la musique classique pour les jeunes. Je pense que, par ce disque, ils auront peut-être envie d’aller plus loin dans la « vraie » musique classique… Mais ça reste un album jeune, drôle, amusant, un album « fun »…

RM : Avez-vous un souvenir particulier d’orchestre ou de public qui vous ont particulièrement ému ?
DG : Non, pas un particulièrement. Je dirais que les concerts qui me sont encore en mémoire sont ceux où je me suis senti le mieux. Ce n’était pas forcément ceux où j’ai eu le plus de succès, mais lorsque je me sens bien, que je sais que j’ai bien joué, je considère cela comme un bon concert !

RM : Avez-vous une œuvre préférée ?
DG : Non, cela dépend vraiment de l’instant, du moment. La musique est liée à l’émotion, donc ma pièce préférée varie selon que je suis heureux ou triste ; tout dépend de mon humeur du jour.

RM : Et sur une île déserte, quelle partition emportez-vous ?
DG : Les Sonates et Partitas de Bach.

RM : Des projets de concerts en France ?
DG : Je ne sais pas du tout si je vais aller en France ! Je m’apprête à aller en Israël, puis en Italie, et enfin en Allemagne, où je donne des concerts avec orchestre et des récitals. Je me suis concentré récemment sur la Grande-Bretagne et l’Asie, surtout pour la promotion de mon CD. Je ne crois pas venir en France cette année. Mais la saison prochaine, je pense bien être sur les scènes françaises !

RM : Y a-t-il un violoniste de votre génération que vous admirez particulièrement ?
DG : J’aime beaucoup Hilary Hahn et Julian Rachlin.

RM : Quand vous n’êtes pas en tournée ou sur scène, quelles sont vos passions ?
DG : Dormir ! Je dors le maximum, pour retrouver mon énergie. Sinon, je sors avec mes amis, j’essaie juste d’avoir une vie normale, une vie « fun ».

Découvrez le nouvel album « FREE » de David en visitant son site web : David Garrett


Posted by:Someone
Posting date:20.06.2008 - 09:54:39
Submitted by:Tabitha
Article date:23.02.2007
Source:click here
Subject:David Garrett, ecco il «bello» del violino
Content:

È l'occasione per ascoltare un vero talento, un ragazzo che vive la vita e lo stile di oggi, ma che non gioca a modernizzare i classici STRUMENTIVERSIONE STAMPABILEI PIU' LETTIINVIA QUESTO ARTICOLO
Con i capelli lunghi, la barbetta incolta, i jeans a vita bassa, il fisico (e le pose) da modello, David Garrett sembra più un cantante pop che non un violinista classico. Ma le perplessità di chi non ama lasciarsi ingannare dalle «icone» merceologiche si disperdono subito, appena lo si sente suonare. Il ventisettenne maestro (tedesco di Aquisgrana, ma di famiglia in parte statunitense) ha debuttato giovedì sera al teatro Dal Verme e torna ad esibirsi in replica sabato alle 17, con l'Orchestra dei Pomeriggi Musicali diretta da Gabor Otvos. È l'occasione per ascoltare un vero talento, un ragazzo moderno, che vive la vita e lo stile dei nostri giorni, ma che non gioca a modernizzare i classici. Tutt'altro. David Garrett è un ex enfant prodige: debutto a dieci anni con la Filarmonica di Amburgo, a 14 anni incideva Mozart con Abbado, a 17 suonava con Zubin Mehta e la Filarmonica di Monaco. Già allievo di Itzhak Perlman, vanta encomi illuistri: «Suona in un modo semplicemente meraviglioso» ha detto di lui Yehudi Menuhin. «È uno dei più dotati quattordicenni che io abbia mai ascoltato - ha dichiarato Isaac Stern -, anzi devo sempre ricordarmi che ha solo quattordici anni».

Al Dal Verme, David Garrett propone un capolavoro dell'Ottocento, quale il Concerto per violino di Brahms. E con il suo violino Stradivari «San Lorenzo» del 1718 ne dà un'interpretazione sobria, ma molto lirica e luminosa. L'Orchestra, snella e tersa, e in questo poco brahmsiana, si acorda con singolare sintonia al scioltezza cantabile del giovane solista, dal suono finissimo ed espressivo. Garrett ama tornire frasi minute e affilate, che il suo vibrato leggero mantiene intensamente romantiche, anche nella purezza del timbro. Con exploit di alto virtuosismo, specie nelle difficili scale di accordi nel primo Allegro. Completano il programma della serata una novità e una Sinfonia storica. In prima esecuzione assoluta si ascolta «Fabula»: l'opera di un giovane compositore, Alberto Cara, classe 1975, che con questo pezzo ha vinto il concorso di composizione indetto dai «Pomeriggi» a tema mozartiano, in occasione del bicentenario. «Fabula» è un brano gradevole e finemente tratteggiato, che rielabora con garbo acuni temi della Serenata «Haffner», e si congeda con un elegante diminuendo, come svanendo in lontananza. L'ungherese Gabor Otvos conclude il programma con la Sinfonia n. 1 di Schumann. Orchestra dei Pomeriggi Musicali. Dir. Gabor Otvos. Violino solista, David Garrett. Replica sabato 24 febbraio, ore 17, ingr. 16/7 euro, via San Giovanni sul Muro 2


Posted by:Someone
Posting date:10.01.2008 - 20:31:35
Article date:31.07.2006
Source:click here
Subject:Orquestra Nacional do Porto - Graeme Jenkins
Content:

“O resto do programma foi do verdadeiro Schumann: um árduo concerto para violino, a que um solista de alto gabarito, o violinista David Garrett, deu agilidade e virtuosismo – com um andamento lento escrito por um compositor ao seu mais alto nivel, onde ouvimos o solista e a orchestra no seu melhor (sonoridade, expressao e poesia, trase a frase) – e a sinfonia Renana um dos expoentes da escrita orchestral de Schumann, ....”

"The rest of the programme was real Schumann: a demanding violin concerto, to which a highly praised soloist, the violinist David Garrett, brought agility and virtuosity - with a slow movement written by a composer at his highest level, where we heard the soloist and orchestra at their best (sonority, expression and poetry, phrase after phrase) - and the Rhenish symphony, one of the greatest examples of Schumann's orchestral works...."


Posted by:Someone
Posting date:10.01.2008 - 20:32:17
Article date:01.05.2006
Source:click here
Subject:David Garret in concerto -
Content:

L’orchestra da camera fiorentina diretta da Giuseppe Lanzetta insieme al violinista suona uno stradivari del 1718

Accedi al video in bassa qualità per connessioni lente
Accedi al video in alta qualità per connessioni veloci

Alto, occhi azzurri, capelli biondi e lunghi, sorriso ammaliante: è David Garret il violinista tedesco–americano, di soli 26 anni, che suona uno stradivari San Lorenzo del 1718, uno dei migliori strumenti del periodo d’oro della liuteria di stradivari, appositamente costruito per il principe di Madrid. Ed è proprio lui il protagonista del concerto “In viaggio con Mozart” eseguito dall’orchestra da camera fiorentina diretta dal maestra Giuseppe Lanzetta, organizzato nella chiesa di Orsanmichele a Firenze.

Sentiamo ai nostri microfoni il Maestro Giuseppe Lanzetta, Direttore Orchestra da Camera Fiorentina: “Questa sera è la terza produzione della ventiseiesima edizione dell’orchestra da camera fiorentina e abbiamo invitato, così come abbiamo fatto l’anno scorso, David Garret che è uno dei virtuosi del violino della giovane generazione ed infatti ha solo 24 anni. Anche ieri sera ha avuto un grande successo, la chiesa era stracolma come succede spesso. Questo ragazzo ha gia lavorato con Zubin Meta, con Abbado, con Burgos e altri grandi nomi e unire la gioventù alla tradizione non è semplice ed infatti è raro che a questa età si possa avere un’ascesa così importante. La cosa è che unisce la sua bravura alla qualità del suo violino che è uno Stradivari San Lorenzo del 1718, del periodo d’oro della liuteria stradivari, e quindi la genialità di questo grande liutaio famoso in tutto il mondo che ha fatto pochi violini, ma tutti di un valore inestimabile tanto che la stima di questo violino è di tre milioni e mezzo di euro.”

Il violino danza accompagnata dalle mani del maestro Lanzetta. La musica si alza accarezzando i sensi dei tanti spettatori accorsi per poter assistere alla performance di Garret accompagnato da una splendida orchestra. Un occasione per vedere la genialità di oggi unirsi in una magistrale interpretazione alle genialità di ieri Sentiamo infine il maestro David Garret: "È veramente un'occasione straordinaria essere in una città affascinate come Firenze e in una sala così bella. Credo che ne derivi una maggiore ispirazione per le vostre esibizioni e questo è molto importante, perché la musica è sempre qualcosa che deve nascere dal cuore. Quindi più si è in sintonia con l'ambiente circostante, migliore sarà la qualità di un'esibizione. È facile comprendere come un violino sia solo qualcosa con cui si suona, quindi non è così determinante ai fini della musica. Certamente, avere un violino straordinario può fare la differenza in termini di qualità del suono, ma non in termini di qualità della musica."


Posted by:Someone
Posting date:10.01.2008 - 20:33:06
Article date:26.01.2006
Subject:Musique symphonique
I Musici
[Montréal] L’art de la transmutation des sons
Content:

Montréal. Théâtre Maisonneuve, Place des Arts. 26-I-2006. Edward Mirzoyan (né en 1921) : Symphonie pour cordes et timbales. Otto Joachim (né en 1910) : Concertante no. 1. Nicolo Paganini (1782-1840) Concerto pour violon n°2 en si mineur opus 7 (« La Campanella »). David Garrett, violon ; Robert Slapcoff, percussions. Orchestre de chambre I Musici, direction : Yuli Turovsky.

Cordes brûlantes et griffes algides sur l’arête acérée du violon, le coup d’archet de David Garrett souffle le chaud et le froid au cœur des émotions. Colonne élancée en une longue silhouette vêtue de noir, le personnage n’a pourtant rien de dantesque. Le regard toise l’orchestre, faisant souvent dos au public, un sourire, quelques coups de tête, un certain détachement avec ce brin de futilité distinguée, il apparaît sur scène, tel un monolithe enté à son instrument, jetant des flammèches de soufre jusqu’à la désincarnation des sons, flûtés, fluides, aériens. C’est l’art de la démesure, dans un maelström étourdissant, électrisant de notes ; c’est l’artifice du funambule qui gère les risques sur les bords escarpés de la virtuosité.

Le programme comportait, en première partie, la Symphonie pour cordes et timbales (1962) d’Edward Mirzoyan. L’influence de Bartok est palpable. Dans tous les mouvements, on peut y déceler la même volonté de créer, - à partir de certains thèmes folkloriques arméniens - la fusion entre musique populaire et forme savante. Était-il nécessaire de bisser le dernier mouvement ? Après l’entracte, l’orchestre I Musici, cette fois-ci, en compagnie du jeune violoniste David Garrett, interpréta Concertante no. 1 d’Otto Joachim. Les deux mouvements comportent d’énormes difficultés, et pas seulement pour la partie violon. On comprend le soliste de jouer devant sa partition. Retenons dans le second mouvement, une rythmicité frénétique qui demande une grande maîtrise aux percussions tenues par l’excellent Robert Slapcoff. Il y avait aussi une surprise dans la salle. Le compositeur Otto Joachim est monté sur scène saluer le jeune virtuose. Il aurait pu en faire autant pour le percussionniste.

Mais c’est bien évidemment dans le Deuxième Concerto pour violon de Paganini, la célèbre Campanella, que les oreilles des mélomanes se sont dressées. Débarrassé de son lutrin, abandonnant toute bride à son violon, l’artiste laisse libre cours aux envolées cristallines, exposant en un savant calcul logarithmique, toute sa dextérité. Prodigieux instrument dialoguant avec l’orchestre, David Garrett joue sur un Stradivarius San Lorenzo daté de 1718. Tel un alchimiste, il impose à son instrument de transmuter la musique en or.

Pour une première au Canada, David Garrett a su combler toutes les attentes des mélomanes. Forte personnalité musicale, il a la passion du jeu virtuose. À l’instar de l’épitaphe gravée sur la tombe de Nicolo Paganini, David Garrett sait tirer de son violon, « les harmonies divines ». En rappel, deux Caprices de haute voltige du même compositeur.


Posted by:Someone
Posting date:10.01.2008 - 20:34:15
Article date:15.07.2005
Source:click here
Subject:Musica al Bargello: David Garret violinista e modello per Armani
Content:

15/07/05- Primo grande appuntamento con la Musica al Bargello, per l'Orchestra da Camera Fiorentina. Martedì 19 Luglio, alle ore 21,15, presso il cortile del Museo Nazionale del Bargello, in via del Proconsolo, l'Orchestra diretta dal Maestro Giuseppe Lanzetta, si esibirà insieme al violinista David Garrett, inaugurando la manifestazione organizzata dall'Orchestra da Camera Fiorentina con la collaborazione della Sopraintendenza dei beni Architettonici e del Polo museale di Firenze e grazie al fondamentale contributo dell'Ente Cassa di Risparmio di Firenze, sempre vicina a questo tipo di manifestazioni.

L'Orchestra da Camera Fiorentina proporrà in questa serata, che segna la prima volta assoluta di un concerto di Musica da Camera al Museo del Bargello, un vasto programma composto dal Preludio dal primo atto della Traviata di Verdi, dall'Overture del Barbiere di Siviglia di Rossini, dal Concerto in Si minore per Violino e Orchestra N° 2 “La Campanella” di Paganini, dalle Danze Ungheresi N° 1, 5, 6, di Brahms e dalla sinfonia “Il Pipistrello” di Stauss. Il violinista di ascendenza tedesco-americano, David Garrett è nato ad Aacken nel 1980. Sotto la spinta di suo padre si dedicò sin da piccolo allo studio del Violino. Nel 1992 richiamò l’attenzione del grande Violinista Ida Haendel che lo spronò ad intraprendere la sua formazione artistica. Itzhak Perlmann, suo insegnante, ha particolarmente contribuito alla sua formazione musicale. La sua prima apparizione pubblica come solista risale al concerto tenuto nella Musikhalle di Amburgo con l’Orchestra Filarmonica di Amburgo sotto la direzione di Gerard Albrecht. Il successo ottenuto lo ha fatto intraprendere una brillantissima carriera che lo vede ospite nelle più importanti città europee come la Filarmonica di Londra, Los Angeles, Israele, Orchestra Nazionale Russa, Orchestra Nazionale di Parigi, Orchestra del Mozarteum di Salisburgo, l’Orchestra da Camera Europea, la Staatskapelle di Dresda, sotto la direzione di illustri maestri quali Claudio Abbado, Zubin Metha, Giuseppe Sinopoli, Herberth Blomstedt, Charles Dutoit, Eliahu Inbal, Mikhail Pletnev e recentemente con Giuseppe Lanzetta con l’orchestra Sinfonica di Aachen.

Ha suonato poi a Berlino con Rafael Fruhbeck de Burgos nel 1999 e l’orchestra della Radio di Berlino, fu un tale successo che venne invitato a suonare nell’Expo 2000 di Hannover.

Molte le sue registrazioni in cd con la Deutsche Grammophon con Abbado, e con M. Pletnev, oltre ad incidere i Capricci di Paganini. Suona un Violino Stradivari “San Lorenzo” del 1718 uno dei migliori strumenti del periodo d’oro della Liuteria Stradivari che fu appositamente costruito per il principe di Madrid.

A dirigere l'Orchestra da Camera Fiorentina ci sarà il Maestro Giuseppe Lanzetta, dal 1981 direttore musicale stabile dell’Orchestra, con cui ha tenuto oltre 900 concerti di vario repertorio sotto l’egida di istituzioni concertistiche di alto prestigio, effettuando svariate tournée in tutto il mondo. Il Maestro Lanzetta, definito dalla critica uno dei direttori più brillanti della giovane generazione, è stato recentemente premiato con la Medaglia Beato Angelico per la Musica e l’Arte.

L’ingresso (rimangono disponibili circa 100 posti per completare la capienza fissata in 250, altri 150 sono stati prenotati da un gruppo di scienziati riuniti in simposio a Fiesole), costa 15 euro. I biglietti, sono reperibili presso il box office di via Alamanni e presso la sede dell’Orchestra in Orsanmichele.


Posted by:Someone
Posting date:22.08.2008 - 10:34:12
Submitted by:Someone
Article date:01.01.2004
Source:click here
Subject:David Garrett - Biografias
Content:

"El joven David Garrett es poseedor una marcada musicalidad, alternando pasión y virtuosismo. Garrett toca vertiginosos pasajes en tempos atrevidamente veloces, su raudo vibrato recuerda al joven Heifitz. De hecho su interpretación posee esa libertad expresiva que encontramos en los grandes violinistas de años pasados, su increible técnica dio paso a la disposición de su interpretación - The Strad - Mayo 2002."

David Garrett, de 22 años , nació en Aachen de padres germano-americanos. Bajo la influencia de su padre desarrolló muy pronto un interés por el violín y su temprana relación con numerosos músicos le proporcionó una perfecta introducción dentro del mundo del violín. En agosto de 1992 tuvo su primer encuentro con Ida Haendel, quien ha promovido su desarrollo artístico desde entonces, así como Itzhak Perlman, otra importante influencia para él.

David Garrett realizó su primera actuación con público a la edad de 10 años, en el Musikhalle de Hamburgo, con la Filarmónica de esta ciudad y bajo la dirección de Gerd Albrecht. Desde entonces ha tocado en las más importantes ciudades europeas, de Estados Unidos y de Japón, invitado por orquestas como las Filarmónicas de Los Angeles, Londres y de Israel, la Orquesta Nacional de Rusia, la Staatskapelle de Dresden, Mozarteum Orchestra, la Orquesta de Cámara de Europa, la Orchestre National de Paris y muchas otras, bajo la dirección de renombrados directores como Claudio Abbado, Zubin Mehta, Giuseppe Sinopoli, Herbert Blomstedt, Charles Dutoit, Eliahu Inbal y Mikhail Pletnev. En 1996 interpretó el concierto de Elgar bajo la batuta de Yehudi Menuhin en el Musikverein de Viena con un éxito excepcional.

En 1997 tocó dos conciertos con la Filarmónica de Munich bajo la dirección del maestro Mehta en Nueva Delhi y Bombay, para conmemorar el 50 aniversario de la independencia de la India. En 1999 obtuvo unas excelentes críticas con motivo de su debut en Berlin junto a la Rundfunk-Sinfonieorchester Berlin y el director Frühbeck de Burgos y fue invitado para tocar en la Expo 2000 de Hannover.

Ha sido el más joven solista que ha firmado un contrato en exclusiva para Deutsche Grammophon en 1994. Su segundo CD con los conciertos para violín de Mozart con Claudio Abbado salió a la venta en 1995, y en 1997 su tercer CD con los 24 Caprichos de Paganini. Su grabación más reciente del concierto para violín en Re de Tchaikovsky con la Orquesta Nacional de Rusia bajo la batuta de Pletnev, salió al mercado en Otoño de 2001 con un gran éxito de crítica.

Sus recientes compromisos incluyen conciertos con la Filarmónica de Flanders, la Sinfonietta de Lisboa en el Festival Mafra, la Sinfónica de Israel con Salomon, la Orquesta Sinfónica de la Radio de Rotterdam, la Orquesta Gulbenkian de Lisboa, la Sinfonietta de Hong Kong, la Orquesta de Cámara de Tallin con Mustonen y la Orquesta de la Academia de St. Martin in the Fields como parte del Festival Mostly Mozart, en el Barbican de Londres

En la temporada 2002/03 tocará en unos 50 conciertos que forman parte de la gira de Nokia Night, por Alemania, Bélgica y Holanda. Otros compromisos en esta temporada son conciertos con la Orquesta Nacional de España y Gloria Ramos, interpretando la Fantasía escocesa de Bruch, una gira con la Orquesta de Castilla y León y Alejandro Posada (concierto para violín nr. 5 de Mozart) y con la Deutsche Oper de Berlín y Eiji Oue (concierto para violín de Schumann), así como recitales en Sevilla y Ginebra con el pianista Itamar Golan.

David Garrett toca el Stradivarius "San Lorenzo" de 1718, uno de los mejores instrumentos del Siglo de Oro.

2004


Posted by:Someone
Posting date:10.01.2008 - 20:35:01
Article date:21.10.2003
Content:

De ascendência germano-americana, David Garrett nasceu em Aachen, em Setembro de 1980. Sob a influência do seu pai, cedo desenvolveu um interesse especial pelo violino. Em Agosto de 1992, despertou a atenção do grande violinista Ida Haendel, que desde então passou a promover o seu desenvolvimento artístico. Itzhak Perlman exerceu também grande influência sobre David Garrett.

Aos dez anos de idade, fez a sua estreia pública em concerto no Musikhalle de Hamburgo, com Gerd Albrecht e a Orquestra Filarmónica de Hamburgo. Desde então, apresentou-se nas mais importantes cidades da Europa e do Japão com orquestras internacionais como, as Filarmónicas de Londres, Los Angeles e Israel, a Orquestra Nacional Russa, a Orquestra Nacional de Paris, a Orquestra do Mozarteum de Salzburgo, a Orquestra de Câmara da Europa e a Staatskapelle Dresden, entre muitas outras, sob a direcção de prestigiados maestros como, Claudio Abbado, Zubin Mehta, Giuseppe Sinopoli, Herbert Blomstedt, Charles Dutoit, Eliahu Inbal e Mikhail Pletnev.

Em 1997, David Garrett apresentou-se em Nova Deli e Bombaim, com a Orquestra Filarmónica de Munique e Zubin Metha, no 50º aniversário da Independência da Índia. A sua estreia em Berlim, com a Orquestra Sinfónica da Rádio de Berlim e o maestro Rafael Frühbeck de Burgos, em 1999, foi unanimemente aplaudida, tendo sido desde logo convidado para tocar na Expo’ 2000, em Hanôver.

Como o mais jovem solista de sempre, David Garrett assinou um contrato de exclusividade com a Deutsche Grammophon em 1994. O seu segundo CD - Concertos para Violino de Mozart, com Claudio Abbado - foi lançado no outono de 1995. O seu terceiro CD, com os 24 Caprichos de Paganini foi editado em Abril de 1997. No outono de 2001 foi lançada, com grande sucesso, a gravação do Concerto para Violino de Tchaikovsky, op.35, com a participação da Orquestra Nacional Russa e do maestro Mikhail Pletnev.

As apresentações recentes de David Garrett incluíram colaborações com a Orquestra Filarmónica da Flandres, a Sinfonietta de Lisboa (Festival de Mafra), a Sinfónica de Jerusalém, a Sinfónica da Rádio de Roterdão, a Orquestra Gulbenkian, a Sinfonietta de Hong-Kong, a Orquestra de Câmara de Tallinn e a Academy of St. Martin in the Fields esta última no Barbican Centre, como parte do festival “Mostly Mozart”.

Na temporada 2002-2003, apresentou-se em numerosos concertos na Alemanha, na Bélgica e na Holanda. Actuou também com a Orquestra Nacional de Espanha e a maestrina Gloria Ramos (Fantasia Escocesa de Bruch), a Orquestra de Castela e Leão, sob a direcção de Alejandro Posada (Concerto para Violino Nº 5 de Mozart) e com a Orquestra da Ópera de Berlim e o maestro Eiji Oue (Concerto para Violino de Schumann), bem como em recitais em Sevilha e Genebra, com o pianista Itamar Golan.

David Garrett toca o Stradivarius «San Lorenzo» de 1718, um dos melhores instrumentos do «período dourado», que foi especialmente encomendado pelo príncipe de Madrid.


Posted by:Webmaster
Posting date:26.09.2010 - 20:16:29
Submitted by:Tahoma
Article date:28.12.1999
Source:click here
Subject:“ROCK SYMPHONIES,” David Garrett
Content:

Fine-arts groups across the country have tried heroically to rope in younger audiences for classical music, often with limited success. Turns out a 14-year-old guest cellist from Romania, for example, won’t inspire droves of teenagers to go see a symphony orchestra perform.

There have been modest successes, however, and German-born David Garrett is angling to be one. His new “Rock Symphonies” seems to the ultimate gimmick: Garrett is a 28-year-old former model who just happens to play a mean violin, and, accompanied by the City of Prague Philharmonic Orchestra on the new release, he furiously saws his way through some of rock’s most recognizable songs.

At first it seems just crazy enough to work. Garrett initially tackles Nirvana’s “Smells Like Teen Spirit” — a bold and potentially blasphemous move. Yet the original version of the song has an eerie air suitable for a symphonic arrangement, and Garrett’s passionate play makes for a serviceably shrieking stand-in for Kurt Cobain’s ferocious voice.

Yet on the subsequent track, a cover of Guns N’ Roses’ “November Rain,” the unmistakable stench of cheese wafts through the air, and “Rock Symphonies” officially encamps in camp. Third track “The 5th” takes it even lower, aping one-hit-wonder Walter Murphy’s 1976 hit “A Fifth of Beethoven,” which was itself a novelty song.

It’s mostly tragedy and comedy the rest of the way, though Garrett’s tense, albeit sharp, friction on Aerosmith’s “Walk This Way” (also featuring Orianthi on guitar) isn’t half bad, and at least the “Vivaldi” part of “Vivaldi vs. Vertigo” (as in U2’s “Vertigo”) is modestly triumphant.

Like “Smells Like Teen Spirit,” Wing’s “Live and Let Die” would seem naturally adaptable to Garrett’s treatment, but it merely sounds clumsy as a late tag-on here. And by the time Garrett assaults Led Zeppelin on closer “Kashmir,” even the most ironic smiles will be replaced by yawns.

Maybe the Europeans will fall for it ...


Posted by:Someone
Posting date:30.04.2008 - 21:58:01
Submitted by:Tabitha
Article date:19.01.1999
Source:click here
Subject:Dos solistas de buen gusto
Content:

Royal Philharmonic Obras de Brahms y Mahler. David Garrett, violín. Amanda Roocroft, soprano. Royal Philharmonic Orchestra. Director: Daniele Gatti. Palau de la Música, Sala Iturbi. Valencia, 17 enero 1999.Estaba previsto que Shlomo Mintz tocase el Concierto en Re de Brahms, pero los hados imprevisibles que siempre rondan estas ocasiones hicieron que la obra recayera sobre el joven violinista de origen alemán David Garrett. A sus 18 años, este discípulo de Ida Haendel ya ha tocado con los directores de mayor prestigio y no en vano su nombre se baraja como una de las promesas violinísticas del siglo XXI. Garrett posee los mimbres necesarios para con tomar la alternativa dentro del gran repertorio, siempre y cuando las características que hoy le adornan (fraseo expresivo, sonido redondo, técnica excelente en suma) se atemperen con la madurez del concepto musical. La versión del Concierto brahmsiano incidió en los aspectos más íntimos y tornasolados del Brahms liederístico, y desde esta perspectiva la interpretación de Garrett alcanzó resultados de innegable belleza en el canto instrumental. Su entrada en escena, luego de la exposición orquestal del primer allegro, dio que pensar acerca de su resistencia física frente a los retos temibles que plantea la extensa partitura. Pero, lejos de flaquear, Garrett supo encontrarle el pulso a la música, haciendo que ésta revelase toda su carga introspectiva en pasajes de absoluta recreación del fraseo. Los problemas, como era de suponer, afloraron con mayor claridad en el virtuosístico final de la obra. Con todo, la sangre no llegó al río. Falto de tensión El director, Daniele Gatti, manejó el tempo con una amplitud rayana en la morosidad y ello privó a este Concerto de su verdadera dimensión: el dinamismo rítmico aliado con la cantabilidad. Las cosas empeoraron en la Cuarta sinfonía de Mahler, pues en esta obra la tendencia a relajar la articulación fácilmente degenera en cursilería. En la coda del primer tiempo o el conjunto del tercero, Gatti no evitó el manifestarse relamido y falto de tensión interior. La tensión no va asociada a la de rapidez metronómica. Se puede llevar un tempo rápido, y falto de tensión, u otro en apariencia lento pero tenso en su interior. Gatti es de los directores (son casi la mayoría) que utilizan grandes volúmenes sonoros o crispados cambios de tempo para generar tensión. La sinfonía, bien llevada por la orquesta en lo tocante a exactitud de ataques, se iluminó al final con la voz de la soprano Amanda Roocroft. Bello timbre, poca rotundidad en el grave y volumen pequeño, son los rasgos de una voz manejada con inteligente fraseo y delicada expresión vocal. De ahí que la estrofa final de Das himmlische Leben casi rozara lo inefable. No fue éste un concierto de los que encienden al público, pero sirvió para conocer a dos jóvenes solistas de buen gusto artístico.


Posted by:Someone
Posting date:04.03.2008 - 18:15:48
Submitted by:Birgit
Article date:06.12.1998
Subject:Violin Benefit Concert
Content:

Last summer 45 violin students from 18 countries were selected from 300 applicants to take part in the Keshet Eilon Violin Master Course at Kibbutz Eilon in Israel. Each year a group of students and professors from around the world are invited to meet Israeli musicians.

The word ''keshet'' means bow in Hebrew, and it is descriptive of a violin or an archery bow. The curriculum, in fact, includes archery, which apparently requires skills similar to those in violin playing.

The course was founded in 1990, and its success has led to an interest in founding a year-round music center in America, something like Tanglewood in the Berkshires. This spring a $500,000 contribution raised by the Berlin Philharmonic seeded the financing effort.

Next Saturday at 7 P.M. the nonprofit American Friends of Keshet Eilon will hold a benefit concert at a private home in Scarsdale. Vadim Gluzman and Angela Yoffe, Israeli violinist and pianist, respectively, will perform, and two graduates of the master course, David Garrett of Germany and Bracha Malkin of Rockland County, will attend. For more information, call 698-7600, extension 230. ELEANOR CHARLES