Impressions by Nina Assimakopoulos
has not just perfect technique and total breath control but supreme
intelligent, elegant phrasing; broad tone color; lyricism; a
full range of dynamic expression; and above all style that paints
the differences from Bach to Bartok."
Buy this album now CD: £12.00 + p&p
|Bossa merengova||Mike Mower||5:48|
|Amazing Grace||arr Nina Assimakopoulos||4:02|
|Pan and The Birds,
from Opus 15 "La Flute de Pan"
|07||The Swan||Camille Saint-Saens||2:37|
|08||Nocturne in F# Major||Frederik Chopin||3:48|
|09||Morceau du Concours||Gabriel Faure||1:47|
|10||Etude en Form de Habanera||Maurice Ravel||3:04|
|11||Flight of the Bumblebee||N.Rimsky-Korsakov
arr Nina Assimakopoulos and David Kosutic
|12||The Carnival of Venice||Giulio Briccialdi
arr N Assimakopoulos
It was the French impressionist composers who brought the flute to light as a solo instrument. Since then, flutists have had an ever-increasing musical pallet with which to explore the unique nature of the instrument and distill its expressive qualities through paintings in sound.
"Flute Impressions" begins with four contrasting works: "INSPIRATION"(1987), written by American composer David N.Baker, "HUMORESQUE"(1894),composed after Antonin Dvorak's first visit to the United States; "BOSSA MERENGOVA" from Sonata Latino (1994), by British flutist/composer Mike Mower; and the American folk melody "AMAZING GRACE"(1779), first published in the Virginia Harmony Book (1831) and arranged here for solo flute by the artist. Although these pieces differ considerably in musical colour and texture, they display the flute's ability to express both the subtle and the dramatic.
The next six sections explore imagery of exotic forms and emotional impressions. "PAN AND THE BIRDS" from Opus 15,"La Flute de Pan" by Jules Mouquet (1867-1946) depicts the Greek god Pan, who was half goat and half man. Seated in the woods, surrounded by the sounds of distant horn calls and the echoes of bird songs, the mythical creature plays a lament of unrequited love on his flute of reeds.
"REVERIE" written by Claude Debussy (1862-1918) as part of a set of five piano works evokes a landscape where dreamy forms rise from musical colours which are profuse but not sharp. Flute and piano converse pausing for the silences which Debussy referred to as"...a means of expression and perhaps the only way to give the emotion of a phrase its full power."
"THE SWAN" by Camille Saint-Saens(1835-1921) was transcribed from his "Carnival of the Animals" for two pianos and orchestra. The elegant melodic line -supported by the clear and fluid accompaniment-conjures images of a swan gliding over waters bejewelled by sparkling light.
Frederik Chopin's (1810-1849) piano NOCTURNES are the most enduring legacy of his poetic vision and represent one of the greatest genres of romantic art. Here the flute assumes the improvisational vocal style of the melody line originally played by the right hand.
The words of the exotic and imagined held an ongoing fascination for Maurice Ravel (1875-1937). Written in 1907 as a vocalize, "HABANERA" is an artistic depiction of a seductive Cuban dance of African origin in which the performers use sensuous movement of the arms, eyes, head, and hips to captivate the viewers' attention.
Regarded as the greatest master of French song, Gabriel Faure (1845-1924)wrote "MORCEAU DU CONCOURS" at a time when the popular flute pieces stressed flashy finger technique and virtuosic endurance. By contrast, this 19 bar gem is a kind of musical still life that requires virtuosity in the artistic expression it demands of the performer.
"FLIGHT OF THE BUMBLEBEE" by Russian Nikolai Rimsky-Korsakov (1844-1905) and "THE CARNIVAL OF VENICE" by Italian composer Giulio Briccialdi (1818-1881) complete the spectrum of flute impressions in this recording. Both demonstrate the flute's pyrotechnic agility and evoke the spirit of painter Henri Matisse with bold colours and infectious movement.
Flute Impressions Nina Assimakopoulos
George Boespflug, piano
The swan for Konstanze
Amazing Grace for Peter
Nocturne for Ileana
Reverie for FDF
Flight of The Bumblebee for Isaac
Special Thanks to David Bamford, my friends and project colleagues
Producer: Nina Assimakopoulos
Photography: Tom Rivers
Location: Moss Lake, Rushford, NY
CD Layout and Design: Valerie Smith, Houghton College Design Services
Recording Engineer: Brandon Munger
Post Production Editing: Don Tremblay
Post Production Mastering: Brandon Munger
Recorded at EMA Studios, Recital Hall, Houghton College, Houghton, NY June 2001.
EUTERPE RECORDINGS 2001Printed in U.S.A.
|Instruments:||Flute / Flute & Piano|
|MCPS:||Euterpe Recordings 201|
NINA ASSIMAKOPOULOS is the recipient of two Fulbright Grants, the National Society of Arts and Letters Career Awards, the Yehudi Menuhin Chamber Music Endowment and the Munich Academy of Music "Meisterklasse" Certificate. Career highlights include performances as principal flute with the Munic City Opera, numerous international concerts and broadcasts and most recently her solo debut Recital at Carnegie Hall, New York, all of which have won public and critical acclaim. Nina Assimakopoulos studied under Peter Lloyd at the Indiana University School of Music and Paul Meisen at the Hochschule for Music in Munich, Germany. She is currently on faculty at the Houghton College School of Music in Houghton, New York.
Pianist GEORGE BOESPFLUG is chairman of the Biola University Music Department in Los Angeles, California and is active as a soloist and chamber music performer. He has collaborated with members of various major orchestras including the Boston Symphony Orchestra, St. Louis Orchestra, Rochester Philharmonic and the Chinese National Orchestra and has appeared as guest soloist with orchestras in the United States and abroad. His discography includes solo as well as chamber music recordings. George Boespflug holds a Doctor of Music Arts in Piano Performance and Literature Degree from the Eastman School of Music.
Pursuing music has filled my life with wonderful people and experiences. I have had the privilege of being guided by generous mentors; studying at length with teachers such as Peter Lloyd and Paul Meisen and working with incredible artists, one of whom is pianist George Boespflug. I have touched the musical sculptures of great composers, felt them stir and come to life though the voice of the flute. May the music in this recording in turn touch you.
|Contact Details||Nina Assimakopoulos|
|click to e-mail|