Photo by Pirjo-Leena BauerSergio Cervetti is a Uruguayan-born American composer who came to the U.S. in 1962 to study composition. In 1966 he attracted international attention on winning the chamber music prize at the Caracas, Venezuela Music Festival. After studying with Ernst Krenek and graduating from Peabody Conservatory he was invited by the DAAD to be composer-in-residence in Berlin, Germany in 1969-70. From 1972 to 1997 and 2007-08 Cervetti was Master Teacher of Music at Tisch School of the Arts at New York University. During this time he composed over one hundred works for the concert stage, dance, theater, and film; many commissioned, recorded and performed in venues and festivals in the U.S. and abroad.
Cervetti’s works range from acoustic to electronic and blend European tradition, folk elements, and minimalist aesthetics. After an early brush with twelve-tone and minimalism his current approach is free and flexible. As much a traditionalist as innovator, he straddles musical worlds with new works that showcase a post-modern synthesis of techniques from diverse periods and sources. Many reflect his South American heritage as well as interest in literature, painting, dance, and socio-political topics. Critics summarize that he is markedly independent, almost an outsider, spanning distant musical worlds of distinct originality and poetry. As a boundless creator and master at his craft he combines elements from classical, dance and electronic that show his essential qualities as melodist and colorist, rhythmic vitality, and harmonically modern sophistication which was recently described as “contemporary baroque.”
In the early 1970’s Cervetti’s contributions to the minimalist movement include Guitar Music (the bottom of the iceberg), Madrigal III, …from the earth…, and Concerto for Trumpet, Strings and Timpani. Three Next Wave Festivals at the Brooklyn Academy of Music featured his extensive collaborations with New York City’s dance world. The Alicante Festival in Spain commissioned the harpsichord concerto Las Indias Olvidadas; and the opera Elegy For A Prince was premiered in excerpted scenes by New York City Opera/VOX 2007. Among other career highlights were two tours in Spain with Joven Orquesta Nacional de España (JONDE); and sections of The Hay Wain, an electroacoustic symphonic poem inspired by the Bosch triptych, are heard in Oliver Stone’s film Natural Born Killers. Starting in 2009 PARMA Recordings has recorded thirteen works composed from 1972 to 2015 for six exclusive albums released on Navona Records.
Alden Ortuño Cabezas
Clarinetist Alden Ortuño Cabezas is the associate principal Clarinetist of the National Symphony Orchestra of Cuba, and Solo Clarinetist with the “Nuestro Tiempo” Chamber Orchestra. He has appeared with the National Symphony and Matanzas Symphonic Orchestras in concert throughout the US, Spain, Austria, Mexico, Nicaragua, Ecuador and in Moscow, Russia and performs regularly in the Dominican Republic. A Professor of Clarinet at the National School of Arts, Alden was the top prize Winner at the Amadeo Roldán Provincial Competition in Matanzas Province in 1989, and earned First Place and Recognition for “Best Cuban Music Performance” at the Amadeo Roldán National Competition in Havana in 1994. He performed at the Markneukirchen International Competitions in Germany (2006) and Geneva Switzerland (2007).
Leonardo Pérez Baster is a violinist and performs with the National Symphony Orchestra of Cuba among others.
Luis Alberto Mariño Fernández [CUBA] started his studies as musician when he was 7 years old in the city of Cienfuegos. Then he graduated as a violinist player at Cuban National School of Arts in Havana City in 2005 and postgraduates as a music composer at the High Institute of Art (ISA) in 2008. He has been working in many Chamber Orchestras (first violin in La Habana Chamber Orchestra and in La Habana Soloist Chamber Orchestra) and composed: “La niña” for steel and metal instruments, Navidad for organ, violin and guitar, “Preámbulo y toque de campanas” for bells, “Pieza para un piano” for piano, “TerjeVigen” and “Era el círculo en nieve que se abría” for strings orchestra, etc. He is influenced by different art fields and has been working with painters, theatre directors, choreographers and film makers: experimental poetry Farewell, life goes on in my dim saying with Etien Díaz, the Woycek opera, the theatre production: Variaciones Estátitcas, Solnes el constructor, R/T Poetry 4 – Decoction moment in a Havana Church. What he likes, working together with them, is to invent new creative spaces. He is recently involved in the dialogue between different possibilities of formalist music construction, just as a kind of "building" inhabited by many forms of times.
Yamed Aguillón Santa Cruz is a viola player and performs with the National Symphony Orchestra of Cuba among others.
Lester Monier Serrano is a cellist and performs with the National Symphony Orchestra of Cuba among others.
Enrique Pérez Mesa (n Matanzas, Cuba,. 1960) is one of the most internationally renowned Cuban orchestra directors. He graduated from the Higher Institute of Art of Cuba under the tutelage of Cuban Maestro Guido Lopez Gavilan in 1993. He is currently chief conductor of the National Symphony Orchestra (Cuba).
María Teresa Chenlo, an internationally known Uruguayan-Spanish harpsichordist, came to Europe under scholarship in order to perfect her harpsichord studies with Genoveva Galvez in Spain and in Paris with the renowned Rafael Puyana. After permanently settling in Spain she acquired Spanish citizenship and engaged in an intense program of concerts throughout Europe and the Americas. Her extensive musical focus is a formidable exercise in stylistic variety which is evident in her concerts and recordings that encompass the great music of the Baroque, works for fortepiano from the18th and 19th centuries, harpsichord repertoire of the Americas, as well as contemporary works, among which she has premiered over 50 new works and many of them were dedicated to her. Chenlo has also been engaged in important studies involving the transcription and research of various 18th and 19th century keyboard works, and has taught courses in the aesthetics and interpretation of music from these periods at festivals and conservatories in Spain and the Americas.
Collaborations with prestigious conductors are numerous and include Howard Mitchell, Stanislav Wislocki, Héctor Tosar, Arturo Tamayo, Pierre Colombo, Antal Dorati, Kiril Kondrashin, José Luis Temes, Antonio Ros Marba, Miguel Patron Marchand, Jordi Bernàcer; and she has worked with recognized performing artists such as Enrico Gatti, John Halloway, Sharon Gould, Christian Baude, Paul Esswood and Claire Powel among others. As a renowned soloist, Chenlo has performed in international music festivals such as Prague Spring, the Festivals of Navarra, Autumn Festival of Paris, the Contemporary Music Festivals of Alicante, Music of the 20th Century of Bilbao, International Festival of Segovia, Festival Bach, Claremont-Ferrand Festival and others. She has often collaborated with the Orquesta Camerata Española directed by Victor Martin, with the group LIM of Jesús Villa Rojo, and was a founding member of the Madrid Camerata conducted by Luis Remartínez.
Her career is marked by numerous awards and recognitions such as the Jacques Antoine Prize of the Monte Carlo Festival, three-time winner of the Premio Nacional de Disco in Spain, and honorable distinction at the TRIMALACA 2000 of UNESCO. She has recorded for ETNOS, TIC-TAC, DIAL DISCOS, VIENNA MODERN MASTERS, URTEXT, VERSO, FACTORIA AUTOR, RADIO NACIONAL and TELEVISION ESPANOLA, TELEVISION de EE.UU. and the BBC in London. Her latest recording is for NIBIUS of the excellent score, Las Indias Olvidadas-The Forgotten Indies, by Sergio Cervetti. This concerto is dedicated to her which she plays with the instrumental ensemble of the National Youth Orchestra of Spain (JONDE) conducted by Jordi Bernácer.
As an example of what critics have written about her interpretative playing, the reviewer of the Czech newspaper Lidova Demokracie wrote the following about her performance at the Spring Festival of Prague: “María Teresa Chenlo is an artist who is a skillful interpreter. Her recital was an exposition of virtuoso technique and rhythmical precision along with a beautiful phrasing and musical elegance…It was a concert of total, genuine emotion.”
Czech violinist and producer Vít Muzík (b. 1972) is one of the most multifaceted musicians working on the contemporary classical music scene. His abilities both as a performer on the concert stage and in the recording booth have led to appearances on more than 60 recordings in the Navona and Ravello catalogs, making him one of PARMA Recordings' most frequent collaborators.
Muzík studied under Prof. Ladislav Gorula at the Janacek Conservatory of Ostrava in his native Czech Republic, and his pursuit of advanced studies on the violin later brought him to Mannes College at The New School for Music in New York NY, the College Conservatory of Music at the University of Cincinnati OH, and the Mozarteum University in Salzburg, Austria under Sándor Végh. Since 2004, Muzík has served primarily as the Concertmaster for the world-renowned Moravian Philharmonic Orchestra, frequently serving also as a producer for recording sessions held at Reduta Hall in the ensemble's home base in the historic city of Olomouc.
As a performer, his talents both as a chamber musician and as a soloist on the violin have brought him to concert stages across Europe and North America. PARMA Recordings is proud to present this collection of recordings that feature Muzík's facility and versatility as a violinist in this digital collection.
Dominika Mozikova is a viola player and performs with the Moravian Philharmonic Orchestra among others.
The Kühn Choir of Prague has been part of the classical music scene for the past fifty years. It was established in 1959 when male voices were incorporated into what was originally a female chamber choir, set up in 1958 by Pavel Kühn (1938-2003) while he was still a student of Prague’s Academy of Music. In this way he was continuing the work of his parents, choirmasters Markéta and Jan Kühn. Bohuslav Martinů wrote the cantata Mikeš of the Mountains for the first concert performed by the newly established choir.
The choir gradually became a pioneer in the performance of a cappella works of world Romanticism, both on the concert platform and in recording studios (Brahms, Schumann, Bruckner, R. Strauss, Reger, among others). Apart from winning various international choral competitions – e.g. in Italy and Hungary – the choir also demonstrated its high standard of performance in the oratorio and cantata repertoires, which it developed chiefly in close collaboration with the Prague Symphony Orchestra and its conductors Václav Smetáček, Zdeněk Košler, Zdeněk Mácal, Jiří Bělohlávek, Vladimír Válek, Petr Altrichter, Libor Pešek, Martin Turnovský, Serge Baudo and Gaetano Delogu. The choir has also partnered other prestigious orchestras, both at home (the Czech Philharmonic, Prague Radio Symphony Orchestra and the Prague Philharmonia, under conductors Sir Charles Mackerras, Vladimir Ashkenazy, Zubin Mehta, David Zinman and Elli Jaffe) and abroad (Concertgebouworkest, Tonhalle Orchestra Zürich, Israel Philharmonic, among others). During the 1980s the choir was asked to take part in several projects conceived by the Nederlands Dans Theater, and was involved in productions created by choreographer Jiří Kylián featuring the music of Stravinsky, Ravel, Janáček, Martinů and Eben.
An equally important role for the choir was its participation in recordings of film music (e.g. Miloš Forman’s The People vs. Larry Flint or music by Zdeněk Liška) and opera (e.g. Luboš Fišer’s Lancelot). The performance of brand new works has always been a natural part of the choir’s activities; ever since it was founded, the choir has inspired a number of works by contemporary composers and boasts a series of fine recordings from all stylistic periods (including the complete choral oeuvre of Bohuslav Martinů and a comprehensive recording of Fibich’s Hippodamia trilogy). Three composers, in particular, have become major names following years of collaboration with the choir – Jan Novák, Václav Trojan and Luboš Fišer.
In 2009 the choir was involved in the extensive two-year project Martinů Revisited, performing the Polička cantatas at the Prague Spring festival. A few months later they presented the composer’s Field Mass at the festival Smetana’s Litomyšl. The choir has been working with the National Theatre Opera since 2014. The Kühn Choir of Prague is a leading choral ensemble, appearing at important Czech festivals and collaborating with prominent music ensembles and orchestras.
The choir’s founder, Pavel Kühn, who had a profound influence on choral singing and the development of its ideal tone colour, worked with the ensemble continually for nearly forty-five years until his untimely death. The role of choirmaster was subsequently taken up by Jan Rozehnal who headed the choir for almost four concert seasons (2003-06). The choir is currently led by Marek Vorlíček. Under his direction the ensemble has also been organising its own series of choral concerts at the Czech Museum of Music since 2009. The Kühn Choir of Prague appointed Lenka Navrátilová as second choirmaster in 2014.
After high school and a private study choral conducting and (Zdenek Vimr, Václav Cibulka) graduated from the Prague Conservatory (professors Hynek Farkač, Miroslav Košler and Miriam Nemcova) and subsequently the Prague Academy of Performing Arts. He graduated also choirmaster courses Winfried Toll.
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NAVONA Records is the contemporary classical label imprint of audio production house PARMA Recordings. Dedicated to highlighting forward thinking composers and musicians from around the world, the New England-based label's eclectic catalog offers listeners a cross-section of today's up-and-coming innovators in orchestral, chamber, and experimental music.
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