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 Post subject: Kjarschka
PostPosted: Sun Apr 08, 2007 12:33 pm 
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Presenting my recording of Chopin's Study op. 10 n. 4. Greetings to everybody!

Chopin - Op.10 no.4, Etude in C-sharp minor


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 Post subject: Op.10, No.4
PostPosted: Sun Apr 08, 2007 1:05 pm 
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Wow! A virtuoso performance! I was particularly impressed with the clarity of the softer parts. The last recapitulation was faster than the previous statements which was effective for me. I liked it. A very good job!


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PostPosted: Tue Apr 10, 2007 7:21 am 
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Incredible playing indeed! The sound was a bit dry but otherwise, I cannot see anything to niggle about. Assuming you wish to be added as a pianist to the site, would you like to post a biography and an optional picture? When you do so, I will add you to the site with this recording.

I would be very interested to hear more from you!

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 Post subject:
PostPosted: Tue Apr 10, 2007 11:00 am 
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Location: Obamanation, unfortunately...
Wow! The speed is like Richter! But I do admit that it is a little "dry" but the sheer speed and clarity makes up for it and gives this recording an exciting performance!

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 Post subject:
PostPosted: Tue Apr 10, 2007 4:42 pm 
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A nice one for Da Speed Demon Community ....

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 Post subject:
PostPosted: Tue Apr 10, 2007 11:27 pm 
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Location: Basel
I have no words... Among the dozens of 10/4s I have heard so far, this is without any doubt one of the most impressive. The ending is simply gorgeous -- well, everything is gorgeous! As others have said, the playing reminds soooo much of Richter's 10/4, not only because of the sheer speed, but also the utmost possible clarity and evenness of your playing. It feels like losing the ground beneath the feet (actually, "torrent" is one of the best fitting etude names IMO). Am I in a special mood? I wonder, as I'm a bit surprised not to read more superlatives from others. Anyway, I think you must have some career ahead of you. And actually, I like a "dry" sound for this etude! I look forward to hearing more of your playing. Do you have a video of this performance? (I hope/assume in good faith that this is not a Joyce Hatto kind of thing)

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 Post subject: thanxxx
PostPosted: Fri Apr 13, 2007 2:59 am 
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Dear all,
thanks to everybody for your so nice words!!!
Really very kind of you all!!!!
:D
I'd be glad to be added to your website. My own webpage is
http://www.chiarabertoglio.com where you may find my CV and photos as well.
Many heartily thanks to everybody once more!

Kjarschka


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 Post subject:
PostPosted: Fri Apr 13, 2007 3:26 am 
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Wow, that's crazy. You pushed the tempo past 200 in a few spots. Technically, this is downright brilliant, but I think the extreme rapidity greatly detracts from it artistically.

I enjoyed it very much!

Got any Liszt for us?
:lol:

Pete


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 Post subject: other Chopin recordings!!!
PostPosted: Fri Apr 13, 2007 5:13 am 
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Hi everybody
one more couple of Chopin Etudes!!!
[but my favourite author actually is Schubert... and although I enjoy playing "virtuoso", nevertheless I like much more "poetic" pieces!!!!!!!]
:D
greetings!

Chopin - Op.10 no.5, Etude in G-flat major
Chopin - Op.10 no.12, Etude in C minor


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 Post subject:
PostPosted: Fri Apr 13, 2007 2:45 pm 
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These recordings are extremely good as well and if you just share with us your full name and post a biography, I will put you up on the site!

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 Post subject: CV
PostPosted: Sat Apr 14, 2007 3:16 am 
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Hi! This is a very short version of my CV:

At the age of only 24, Chiara Bertoglio has already performed in many of the most important concert halls, like Carnegie Hall in New York (performing a Mozart Concerto conducted by M. Leon Fleisher), Concertgebouw in Amsterdam, Rome Philharmonic, Salzburg Mozarteum, Warsaw Chopin Institute, London Steinway Hall, etc.; she performed with a great number of orchestras, such as European Union Chamber Orchestra, Curtis Chamber Orchestra, Milano Classica, Aargauer Symphonie Orchester, The Hague Youth Sympony Orchestra, I Virtuosi di Torino and many others, in New York, London, Rome, Paris, Vienna, Warsaw, Oslo, Copenhagen and many other big towns.
She has been taught by teachers like Paul Badura Skoda, Sergio Perticaroli and Konstantin Bogino, graduating - among others - at Rome Academy of Santa Cecilia, Trinity College London, Venice University etc.; she wrote an essay on Mozart performance that was published in 2005 by Marco Valerio Editions in Turin. She is currently a doctoral student at Birmingham University.
Her CD's are published by Biemme; she performed in many national TV and Radio broadcasts, in Italy, Poland and Holland. In 2006 the Italian magazine "Panorama" published a CD featuring her performance of two Piano Concertos by Mozart.

-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
And this is a longer one:

Chiara Bertoglio was born in Turin in 1983 and began her piano studies in 1986. Maria Rezzo, Ilonka Deckers, Emmy Henz-Diémand, Paul Badura Skoda, Sergio Perticaroli, Eugenio Bagnoli and Konstantin Bogino have been her teachers. In 1999, when 16 years old, she graduated at Turin Conservatoir summa cum laude and with honours. In 2000 she obtained the scientific bachelor with the highest score. When she was 17 she obtained the Swiss Diploma of Virtuosité with honours. In 2003 she graduated with honours from the triennial Master Courses of the Accademia Nazionale di Santa Cecilia in Rome. She was the youngest woman ever to obtain this diploma. In 2004 she obtained the Fellowship from Trinity College in London and a Master Diploma from the Rome University "Tor Vergata". In 2006 she obtained her Master's Degree in Musicology at Venice University Ca' Foscari with honours. She is currently studying for a PhD in Music Performance Practice at the University of Birmingham with Dr Kenneth Hamilton.

She took part to master classes with A. Lonquich, E. Henz-Diémand, K. Bogino, A. Ciccolini, C. Zacharias, M. Voskressenskij, Leon Fleisher and P. Badura-Skoda. From 1996 to 2001 she received a scholarship that allowed her to study abroad, from "De Sono - Associazione per la Musica". In 2003 she received two scholarships from FIDAPA: one from FIDAPA Alta Val Tevere, for a master course at Mozarteum in Salzburg, the other from FIDAPA Rome, as the best graduated at the Academy of Santa Cecilia. In 2004-5 she obtained a scholarship in the project "Master dei Talenti" from the Trust "Fondazione Cassa di Risparmio di Torino"; the same foundation gave her a research fund in 2007 (Progetto Alfieri).

As a soloist she performed in Italy, UK, France, Austria, Holland, Germany, Poland, Denmark, Norway and Switzerland. Her debut at Carnegie Hall took place in December 2005, performing a Concerto by Mozart with Curtis Institute Chamber Orchestra conducted by Leon Fleisher. In 2006 she performed Beethoven's Fourth Concerto at Santa Cecilia Hall in Rome with Rome Symphony Orchestra conducted by F. La Vecchia.

Her most important performances include appearances at the Concertgebouw in Amsterdam, at the Accademia Filarmonica Romana (opening récital of Summer Season 2004), Società dei Concerti in Milan, Unione Musicale in Turin, Chopin Institute in Warsaw, Wiener Saal at Mozarteum Salzburg, Politeama Theatre in Palermo, Tripcovich Hall in Trieste, Festivals "Opera Barga", "Imago Sloveniae", "Mozart in Rovereto". She performed the eight Impromptus by Schubert for Unione Musicale in Turin, and she played first the 12 Studies op. 10 by Chopin in Aarau (Switzerland). In her home-town she played, among the others, in the Great Hall of the Conservatoir, for Settembre Musica, at the RAI-Auditorium, at Sermig Auditorium and at the Teatro Piccolo Regio. Her debut with orchestra took place at the age of 8, when she played Mozart's Piano Concerto with Ferdinand Leitner; at the age of 12 she played in Milan Beethoven's Second Piano Concerto, with Milano Classica chamber orchestra conducted by Vittorio Parisi. In 2000 she performed in Switzerland Mendelssohn's First Piano Concerto with Aargauer Symphonie Orchester conducted by late Räto Tschupp; in 2002 she played in Germany and Italy Ravel's Concerto in G, and Brahms' First Piano Concerto; in 2003 she played Schumann's A minor Concerto. In 2004 she performed Mozart's Concerto KV 271 (Jeunehomme), conducted by Gernot Süssmuth, with European Union Chamber Orchestra in Wales and England; in the same year she played Grieg's Piano Concerto in The Hague, Oslo, Copenhagen and Odense, and Mozart's Double Concerto in Germany. In 2005 she performed with orchestra Concertos by Bach, Haendel, Mozart and Beethoven (n. 4).

In 2006 she performed the following Mozart's Piano Concertos: K414 as a conductor and pianist in Slovenia (broadcast live on National Radio); K415 in Austria, and at Festival Opera Barga; K453 and 459 as a conductor and pianist in Lucca and in a recording with Italian Philharmonic Orchestra; K451 at Opera Barga; moreover, in the same year she played Beethoven's Fourth Concerto in Rome, and Brahms' First Concerto in Hamburg.

She won the first prize in many national and international contests, among which Muzio Clementi - Kawai (1991) and Franz Schubert (1992); she won also the IV Rassegna dei Migliori Diplomati dell'anno in Castrocaro (2000), the international Selection with Orchestra organized by Schenk-Stiftung in 2000, the selection of young musicians for concerts abroad by Associazione Romana Amici della Musica nel 2001, the Premio Giubilei of FIDAPA 2003, the Forum pianistico internazionale di Chioggia 2003, with Schumann's Piano Concerto, and 12 first prizes in her category in other competitions. In 2006 she got the first prize at “Vanna Spadafora” XIII International Competition. In 2005 her musicological research “Sì bella e perduta”, on the importance of the choral singing of Verdi’s hymn Va’, pensiero for the exiled people from Histria was awarded the Ignazio Gherbetz research prize; in 2006 the same work obtained the Loris Tanzella Literary Award.

She recorded many CD's of solo and chamber music for the turinese label Biemme. In 2006 the Italian magazine "Panorama" published a CD featuring her performance of two Piano Concertos by Mozart, accompanied by the Italian Philharmonic Orchestra, in the frame of "Mozart2006" celebrations. She appeared often in TV programs, broadcast nationally and internationally; her performance at Concertgebouw in Amsterdam was broadcast live on Dutch classical music channel Omroep.

She composed pieces for choir and orchestra (Nunc dimittis), Lieder (Nun weiss man erst), solo violin (Orto iam sole), solo cello (Preludio), and for many other chamber and orchestra ensembles; moreover she composed interesting cadenzas for Mozart's Piano Concerto KV 466. She founded and conducted the Youth Chamber Orchestra I Virtuosi di Torino (www.virtuosiditorino.tk). She founded a charity of classical music volunteers called Portare la Musica (www.portarelamusica.tk).

She performed many pieces by contemporary and living composers (Berio, Messiaen, Escaich, Donorà...), and some pieces in first world performance. She recorded the rarely performed Variations Variazioni KV Anh. 137 by Mozart.

She often plays in chamber music recitals, and she created a project devoted to Schubert, in which both Piano Trios, the Arpeggione Sonata and the Trout Piano Quintet were performet; she played both Piano Quartets by Mozart, the Concerto by Chausson for Piano, Violin and String Quartet, Milhaud's Two violins sonata, and many other pieces of chamber music and Lieder. She played with musicians like Claudio Ronco, Cristiano Gualco, il Quartetto Casorati, Marco Decimo, Giovanni Bertoglio, Enrico Sartori, Paola Perardi, Massimo Barrera and many others.

Being very interested in musicology she takes a special care in designing interesting recital programs, that she often introduces to the audience. She created a website about the history of Variations, following a lecture-recital given at Turin University (DAMS) in 2003 and at Il Coretto in Bari (2002). In 2004 she gave a highly appreciated lecture at Turin University, on the relations between Mozart's Piano and Opera music. Her first book, "Voi suonate, amici cari", an essay on the same subject, was published in 2005 by Marco Valerio Editions in Turin.


-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*

And finally... a picture!!!!
Image

:)

best wishes!
Chiara


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 Post subject:
PostPosted: Sat Apr 14, 2007 4:30 am 
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Joined: Wed Jun 07, 2006 6:27 pm
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Thanks for the picture and biography and you are now present on the site. I went for the long biography if you do not mind and that is most impressive! Winning the first competition at 8, graduating at the conservatory at the age of 16 and being the youngest woman ever graduating with honours from the triennial Master Courses of the Accademia Nazionale di Santa Cecilia in Rome! And so on...everyone else, please read it.

Re-listening to your recordings again and they are of world class Chiara! Not only are you able to handle the technique with ease, they are also wonderful nuanced and colourful. The phrasing and dynamics are very well planned and executed and the recordings are actually more poetic than virtuosic.

Also, I registred at your home page (to which I linked from your biography) and listened to your Op.10 no.2, something I struggled a lot with several years ago and this is really extremely good as well!

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 Post subject:
PostPosted: Sat Apr 14, 2007 6:16 am 
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I was not much taken with the Op.10.4, which I think is awfully dry and digital, as well as inhumanly fast. But having listened to the Op.10.5 and Op.10.12 I agree that these are world class, the interpretation as flawless as the technique. If I may offer one little suggestion, it's that you could sometimes let a little more air in, and take your time at important moments.

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 Post subject: Thanks!
PostPosted: Sun Apr 15, 2007 1:26 pm 
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Thanks for the nice words of both of you!!!!
Thanks Robert for your appreciative words, it's so kind of you! I struggled a lot with op. 10 n. 2 as well - in my opinion it's the hardest of Chopin's Etudes.
Thanks Techneut for your compliments and also for your observation on op. 10 n. 4. I know it is very fast, but... well, I like it this way because it is a "Presto con fuoco".
Perhaps it makes more sense when I play the whole of op. 10, in their order. After n. 3 I think that some "fire" is needed. Maybe if it is taken alone, n. 4 loses some of his sens.
But of course I am very grateful also for friendly criticism and for different opinions!!!!
:)
All the best to you all!!!
kjarschka


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 Post subject:
PostPosted: Sun Apr 15, 2007 9:26 pm 
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Hi, Chiara. The 10/12...wow! It is just about as close to perfect as is humanly possible. I'm so glad you're here; your resume is a Mount Everest of achievement! Congratulations for your multitudinous successes and best wishes for a brilliant career!

Pete


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 Post subject:
PostPosted: Mon Apr 16, 2007 2:56 am 
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well... I'm blushing!!!!!! :oops:
TOO kind of you!!!!
but many many many heartily thanks...
warm hugs to everybody!!!


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 Post subject: Re: Thanks!
PostPosted: Mon Apr 16, 2007 3:15 am 
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kjarschka wrote:
I struggled a lot with op. 10 n. 2 as well - in my opinion it's the hardest of Chopin's Etudes.

I did struggle a lot with this etude several years ago. Took about a year of daily practise until I could play it decent and there are very few "short-cuts" you can make. Perhaps skipping the RH chords here and there and only play the melody but the chords are there to force the hand to choose the correct fingering. And what is the use of cheat in an etude? Like cheat in solitaire...

You play it very good and I feel comforted when I read that a highly skilled pianist as you struggled with this etude too ;).

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 Post subject: cheating... and Schubert
PostPosted: Mon Apr 16, 2007 9:00 am 
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Hi!
Well, if this can make you happy, I spoke once with a first-prize winner of Busoni competition (I will not say his/her name, of course!). And he/she said that he/she didn't play in concert the whole op. 10 because he/she was afraid of n. 2.
So you are in a very good company (this prizewinner is characterized, moreover, by his/her very brilliant and virtuoso technique).
I do agree with you about cheating... Even if these studies were conceived for keyboards that are completely different from ours.
Maybe when you play op. 10 as a concert piece, then a small amount of cheating can be allowed...
:)
but I swear that I play all of Chopin's notes and... as he wrote them!!!!!!! :)
(even if sometimes... I add some notes when I don't play cleanly!!!)!
:)

A little gift for the forum: my recording of the second movement of Schubert's A maj. Sonata (D959). It's my absolutely favourite piece... the one I would bring with me on a desert island.
Hope you'll enjoy it!!!!
:)

Schubert - D.959, Piano Sonata in A major, II. Andantino


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 Post subject:
PostPosted: Mon Apr 16, 2007 10:06 am 
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Beautiful! Thanks for sharing!! You are both a virtuoso and a very poetic pianist. D959 is such a great piece (the last movement always gives me a good mood!!)... :D

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 Post subject:
PostPosted: Fri Apr 20, 2007 2:34 am 
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Wonderful!!! The lyric and poetic is really so beautiful and this is a recording to really adore. But I almost missed it as it was hooked into a topic which already consisted of the Chopin etude recordings. People usually create a new topic whenever they have a new recording they want up on the site.

Poor Schubert, died in age of 32 only. Really a romantic spirit who lived along with the friends he loved. Never got his real love and had to make a revolution against his father to be able to create the wonderful music to be loved almost 200 years later.

Many of the works of Schubert bores me as they are often long and nothing "really happens". I require tension, dynamic changes, haunting melodies etc. but this is an exception from Schubert which I really enjoy.

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 Post subject: thank you Robert and Tobias
PostPosted: Fri Apr 20, 2007 3:12 am 
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Hi dear friends,
thanks a lot for your nice words!!! Yes, Robert, you're right: next time I'll post my recordings in a new topic.
Yes, Schubert is really a genius... he's the composer I play most gladly!!
His music is not "narrative", like Beethoven's (B's music starts from point A and gets straight to point B, with fights and sorrows, but straight!); Schubert admires the beauty of creation, "loses" his time admiring a flower, a bird, a mountain...
And this second movement is so full of spirituality, of grief, of despair... it expresses the greatest feelings of mankind, in my opinion.
By the way, do you know Bresson's wonderful film "Au hasard, Balthazar"? It is based on this 2nd movement and it grasps perfectly its significance.
All the best to both of you!
Chiara


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 Post subject:
PostPosted: Fri Apr 20, 2007 4:08 am 
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Your Chopin etude interpretations are jaw-dropping!

I am very glad to be able to listen here to your world-class piano playing. It's not only sheer virtuosos playing, it is combined with deep felt lyrical expression, as your Schubert take clearly shows.

Thank you for sharing this!!!

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