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Visions

Nino Gvetadze

Visions

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917281927
Catnr: CC 72819
Release date: 27 September 2019
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Label
Challenge Classics
UPC
0608917281927
Catalogue number
CC 72819
Release date
27 September 2019

"Pre-Raphaelite music by Cyril Scott deserves a visit... Nino Gvetadze's anthology is all made of tranquillity. 5 Diapason"

Diapason, 04-9-2020
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About the album

Nino Gvetadze: “Many years ago, when I studied at the Tbilisi Conservatory in Georgia, I had the privilege to be a student of a prominent Georgian composer, pianist and pedagogue, Nodar Gabunia. He was a very special, I would say exceptionally gifted person in many different ways. Every year he would present his students in a special concert that always had a very interesting and intriguing theme. On one of these evenings, this time under the name “Debussy and his contemporaries”, he entrusted me to play Lotus Land by Cyril Scott, the piece that took me under its spell from the very first bars.

This album contains a collection of pieces that will give the listener a glimpse of the atmospheric, rich, beautiful, tender and meditative world of piano music of Cyril Scott.

Cyril Scott was a key figure before World War I in helping Britain to break away from musical conservatism and the prevailing Germanic influences.

The album starts with a berceuse and leads us through a night filled with colorful Visions, a night followed by the Morning Song and the wise and dreamy epilogue Over the Prairie.

There is so much more to discover about this enigmatic composer: an ocean of works that he left behind. I hope this CD will awake the interest and will trigger the listeners and musicians to look for more.”
Na Ghosts opnieuw een wonderschone opname van pianiste Nino Gvetadze. Haar nieuwe album Visions is een ode aan de Engelse componist Cyril Scott, door wie ze altijd al gefascineerd was. En zij vast niet alleen, de luisteraar zal het met haar eens zijn en geraakt worden door zijn mysterieuze muziek en genieten van het mooie en subtiele spel van Nino Gvetadze. Vijf sterren van de Volkskrant!

Betoverd vanaf de eerste noot

Nino: "Jaren geleden al, toen ik studeerde aan het Tbilisi conservatorium in Georgië, had ik het voorrecht student te zijn van een prominente Georgische componist, pianist en pedagoog: Nodar Gabunia. Hij was een heel bijzonder, ik mag wel zeggen in vele opzichten uitzonderlijk begaafd, persoon. Elk jaar presenteerde hij zijn studenten tijdens een speciaal concert dat altijd een interessant en intrigerend thema had. Op een van deze avonden, die keer onder de naam 'Debussy en zijn tijdgenoten', vertrouwde hij het me toe om Lotus Land van Cyril Scott te spelen, het stuk dat me betoverde vanaf de eerste noten. En er valt zoveel meer te ontdekken over deze raadselachtige componist die een zee aan werken achterliet."

Een kijkje in de wereld van Cyril Scott

Cyril Scott was voor de Eerste Wereldoorlog een sleutelfiguur in het de Britten helpen los te komen van het muzikale conservatisme en de heersende Duitse invloeden. De componist werd ooit door Eugene Goossens beschreven als 'de vader van de moderne Britse muziek'. Hij werd bewonderd door componisten als Claude Debussy, Richard Strauss en Igor Stravinski en componeerde muziek in zo goed als alle genres. Zijn muziek was modern voor die tijd, zo maakte hij stoutmoedige keuzes in structuur en harmonie. Na de Tweede Wereldoorlog taande zijn roem. Waarom blijft tot nu toe een raadsel. Wat de reden ook was, zijn muziek spreekt voor zich. Nino maakte een prachtige dwarsdoorsnede van zijn pianomuziek en koos stukken uit elke periode van zijn carrière. Samen vormen ze een prachtig dynamisch geheel. Nino Gvetadze: "Visions bevat een verzameling werken die de luisteraar een glimp gunnen van de atmosferische, rijke, mooie, tedere en meditatieve wereld van de pianomuziek van Cyrill Scott. Het album begint met een berceuse en leidt ons door de nacht gevuld met kleurrijke 'visioenen', gevolgd door het 'ochtendlied' en de wijze en dromerige epiloog 'over de prairie'." Kortom muziek om bij weg te dromen.

Nino Gvetadze: „Vor vielen Jahrne, als ich am Tbilisi Conservatorium in Georgien studierte, hatte ich die Ehre, bei dem bekannten georgischen Komponisten, Pianisten und Pädagogen Nodar Gabunia zu studieren. Er war ein sehr besonderer und ich würde sagen außergewöhnlich talentierter Mensch, in vielerlei Hinsicht. Jedes Jahr präsentierte er seine Studenten in einem eigenen Konzert, das immer ein sehr interessantes Thema hatte. An einem dieser Abende, diesmal unter dem Motto „Debussy und seine Zeitgenossen“, vertraute er mir Cyril Scotts Lotus Land an, ein Stück, das mich von den ersten Takten an in seinen Bann gezogen hat.

Die Sammlung verschiedener Stücke auf diesem Album gibt dem Hörer einen Einblick in die atmosphärische, bunte, schön, zarte und meditative Welt von Cyril Scotts Klaviermusik. Cyril Scott war vor dem Ersten Weltkrieg eine zentrale Persönlichkeit, die Großbritannien half, sich vom musikalischen Konservatismus und von den vorherrschenden deutschen Einflüssen zu lösen. Das Album beginnt mit einer Berceuse und führt uns durch eine Nacht von bunten Visionen (Visions), gefolgt vom Morgenlied (Morning Song) und dem weisen, verträumten Epilog Over the Prairie.

Es gibt zu diesem Komponisten so viel zu entdecken: er hinterließ ein Meer an Werken. Ich hoffe, diese CD wird Interesse wecken und Hörer sowie andere Musiker dazu ermutigen, nach mehr zu suchen.

Artist(s)

Nino Gvetadze (piano)

Born and raised in Tbilisi, Georgian pianist Nino Gvetadze leads an international career as a soloist and a chamber musician. Her performances have been praised by many critics throughout the Europe and Asia. Nino received various awards, the most important were the Second Prize, Press Prize and Audience Award at the International Franz Liszt Piano Competition 2008. She became the winner of prestigious Borletti-Buitoni Trust Award in 2010. Since 2019 Nino Gvetadze is the Artistic Leader of Naarden International Piano Festival. Nino Gvetadze has performed with many outstanding conductors such as Michel Plasson, Yannick Nézet-Séguin, Michel Tabachnik, John Axelrod and Jaap van Zweden and with orchestras such as the Rotterdam, Residentie-The Hague, Brussels, Espoo-Helsinki, Warsaw, Seoul and Netherlands Philharmonic, Bergische and the...
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Born and raised in Tbilisi, Georgian pianist Nino Gvetadze leads an international career as a soloist and a chamber musician. Her performances have been praised by many critics throughout the Europe and Asia. Nino received various awards, the most important were the Second Prize, Press Prize and Audience Award at the International Franz Liszt Piano Competition 2008. She became the winner of prestigious Borletti-Buitoni Trust Award in 2010. Since 2019 Nino Gvetadze is the Artistic Leader of Naarden International Piano Festival.

Nino Gvetadze has performed with many outstanding conductors such as Michel Plasson, Yannick Nézet-Séguin, Michel Tabachnik, John Axelrod and Jaap van Zweden and with orchestras such as the Rotterdam, Residentie-The Hague, Brussels, Espoo-Helsinki, Warsaw, Seoul and Netherlands Philharmonic, Bergische and the Rheinische Philharmonie, Münchner Symphoniker, amongst others. She toured with the Mahler Chamber Orchestra, Kammerakademie Potsdam, Camerata RCO and Amsterdam Sinfonietta.

Recent highlights are the performance of Ulvi Cemal Erkin’s piano concerto in Istanbul and the Variations on a nursery tune of Dohnány with the Liege Royal Philharmonic and chief conductor Gergely Madaras.

In recital Nino has performed all over the world, among other in Hannover (PRO MUSICA Preisträger amKlavier-Zyklus), Bayreuth, Herkulessaal and Prinzregententheater Munich, the Concertgebouw Amsterdam, with Jean-Yves Thibaudet at the Spoleto Festival, Lucerne Piano Festival, Bunka-kaikan Hall Tokyo, Kuhrhaus Wiesbaden, the Festival Piano aux Jacobins (Toulouse), Kuhmo Chamber Music Festival (Finland). In the Netherlands Nino is a regular guest at Concertgebouw Amsterdam, Muziekgebouw Eindhoven and Edesche Concertzaal. Since 2008 Nino plays in the "Arosa Trio" with her colleagues Frederieke Saeijs and Maja Bogdanovic.

Nino Gvetadze is a Challenge Classics artist. On her 2nd album “Visions” she presents piano pieces of the English composer Cyril Scott. Music journal “Pianist” wrote about her first CD “Ghosts” with the 24 Préludes of Chopin: ‘Gvetadze makes the listener - partly thanks to the wonderful recording - companion of the most intimate thoughts’. Repertoire that has been released on other labels: piano works by Mussorgsky (Brilliant Classics), Rachmaninoff Preludes op 23 and op 32 (Etcetera), “Debussy” with the Préludes book I, Estampes and Claire de Lune (Orchid) and “Widmung” with Liszt piano works (Orchid). The Debussy CD was editor’s choice of both International Record Review (April 2014).

In Tbilisi Nino studied with Veronika Tumanishvili, Nodar Gabunia and Nana Khubutia. After her graduation Nino moved to the Netherlands to study with Paul Komen and Jan Wijn. Nino plays on a Steinway Grand Piano, kindly lent to her by the Dutch National Music Instrument Foundation.


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Composer(s)

Cyril Scott

Cyril Scott (1879-1970) was truly one of the more remarkable men of his generation. Far ahead of his time in many ways, in others he was inescapably a product of the Victorian age in which he grew up. As John Ireland his friend and exact contemporary wrote to Scott in 1949 “You were the first British composer to write music which was non-academic, free and individual in style and of primary significance. Long before I could write anything in the least worthwhile you had made a great reputation in England and on the Continent”.   His music, though certainly the most important, is only one aspect of his enormously varied creative output. He wrote the lyrics for many of his songs and...
more
Cyril Scott (1879-1970) was truly one of the more remarkable men of his generation. Far ahead of his time in many ways, in others he was inescapably a product of the Victorian age in which he grew up. As John Ireland his friend and exact contemporary wrote to Scott in 1949 “You were the first British composer to write music which was non-academic, free and individual in style and of primary significance. Long before I could write anything in the least worthwhile you had made a great reputation in England and on the Continent”.
His music, though certainly the most important, is only one aspect of his enormously varied creative output. He wrote the lyrics for many of his songs and the libretti for his operas. He published forty books; on alternate medicine, ethics, religion, occultism, psychology, humour and music; wrote two autobiographies forty years apart and six volumes of poetry. Many of the books he wrote remain in print today and one trilogy in particular, The Initiate, written in the 1920s was optioned just recently for a film and continues to be translated into other languages, the latest being Swedish and Romanian.
In his staunch advocacy of alternate medicine decades before it became mainstream Scott was again ahead of his time. His poetry on the other hand is very much of the period, deeply romantic and infused throughout with a Pre-Raphaelite sensibility. In the same mode he designed some of his own furniture, trying, as he said, to make his lodgings look as much like a monastic cell as possible. More practically, he later devised a unique piano. It was a regular upright but with a sloping front replacing the lid to form a broad writing desk leaving him space beneath to play on and compose.
Aware that some people felt he was spreading himself too thin, he defended himself in his later biography Bone of Contention, (1969) by saying: “Holding the belief that the more subjects one can, within reason, become interested in, the less time and inclination one has to be unhappy, I will make no excuses for what the friends of my music call my versatility, and its detractors the dissipation of my energies (for) in a sad plight is the composer who has no sideline or pastime to turn to during those desolate periods when musical ideation gives out, leaving but that painful sense of emptiness and frustration so familiar to all creative artists.” Scott was born in Oxton, near Liverpool to a middle class family in 1879. As his son, I truly find it hard to realise that I’m intimately connected to someone who, as a student in Frankfurt heard Clara Schumann play and remembered his teachers taking the day off to go to Vienna for Brahms’ funeral. He was born into a world we wouldn’t recognise today, except through costume dramas on the BBC. It was a world of the horse and carriage and cobbled streets, a world without cars, planes, radio, TV, computers, CDs or the Internet. The last time I saw him we sat in front of the TV together and he watched a man land on the moon. That’s quite a change in one lifetime! Scott’s father was a businessman involved in shipping whose chief interest was the study of Greek. His mother played the piano “with a certain superficial brilliance, and had even written a waltz which somehow got into print.” (Bone of Contention) As a young child he was abnormally sensitive and precocious, bursting into tears at any music that affected him.
He played the piano almost before he could talk, picking out tunes from the barrel organs heard in the street outside. When he was 12 his parents sent him to the Conservatory in Frankfurt to study piano where he was the youngest pupil accepted up to that time. He stayed there for eighteen months, came home, decided he was more interested in composition than in teaching or being a concert pianist and returned to the Conservatory when he was not quite 17. There at one time or another he met Norman O’Neill, Balfour Gardiner, Roger Quilter and the one he remained closest to, Percy Grainger, the five musicians becoming collectively known as the Frankfurt Group. Grainger became not only an especially good friend but also a tireless advocate of Scott’s music, playing his compositions, in particular the Sonata No. 1, all over the world. He was also extraordinarily generous to him. During WWII, having earlier become an American citizen and with restrictions on taking money out of the country, he insisted that Scott be given all his British royalties and after the war lent him his cottage in Pevensey Bay rent-free for two and a half years. Success came early for Scott. His First Symphony was performed in Darmstadt in 1901 and his Second under Henry Wood in London two years later.
It took one hundred years, though, before his next Symphony, The Muses, had its first hearing in 2003! For the first quarter of the last century he was in the forefront of modern British composers, hailed by Eugene Goossens as ‘the father of modern British music’ and admired by men as diverse as Elgar, Debussy, Richard Strauss and Stravinsky. By the time he died in 1970, however, he was remembered by the general public for little more than Lotus Land (1905) and small piano pieces such as Water Wagtail (1910), which at one time, according to Lewis Foreman, was used as the signature tune to the Test Match broadcasts on the BBC! What caused such a sharp decline is hard to assess. Musical tastes change. Avant garde can easily become vieux jeu. Maybe Scott’s highly individual style, which to listeners more accustomed to the work of Stanford and Parry would initially have appeared radical and ‘modern’, began to seem dated. Or, maybe Diana Swann was right when in a perceptive article for the British Music Society in 1996 she wrote, “ ... Perhaps too much hope was pinned on him at a point when England’s fading Imperial importance craved a compensatory and valuable place in European music.” Another possibility, as she noted, was that after WWI, “English music was encouraged to progress only along the folksong/Tudor revival/Christian agnostic path” and the new composers finding favour had all been trained at the Royal College or Academy of Music.

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Press

Pre-Raphaelite music by Cyril Scott deserves a visit... Nino Gvetadze's anthology is all made of tranquillity. 5 Diapason
Diapason, 04-9-2020

Cyril Scott, a mysteious musician who deserves attention... Nino Gvetadze handles with love, expression and a gentle touch 22 pieces of his piano music... Scott was the avantguarde of those who today rediscover tonality and melody with no sense of guilt.
Classic Voice, 06-3-2020

Georgian pianist Nino Gvetadze gives a memorable and perfectly executed account of these diverse pieces. This album gives an encouraging and inspiring ‘glimpse into the atmospheric, rich, beautiful, tender, sometimes wayward and meditative world of Cyril Scott.
Music web International, 04-3-2020

Enchanting album.
Fanfare, 21-2-2020

These are highly perfumed performances of music that leans heavily in the direction of impressionism. Moreover, the 22 tracks give us an enticing sampling that can be unreservedly recommended. 
American Record Guide, 19-2-2020

According to Scott, music was meant to reach the ideal state of mind, to get to the core of yourself." A beautiful story about who Scott is and how Nino Gvetadze sees him. Luister magazine is in the shops now!
Luister, 08-11-2019

Gvetadze creates a nice balance between beauty and architecture, between speed and tranquility.
Luister, 08-11-2019

A tribute to a composer today ignored by the Georgian-Dutch pianist Nino Gvetadze who gives these fascinating works with her loving and modest playing a velvety shine. gives a velvety sheen. A particularly beautiful CD, a real discovery.
Stretto, 05-11-2019

With feathery meandering playing and textures that are crystal clear and sensual at the same time, she guides you through Scott's static pieces.
De Standaard, 30-10-2019

Gvetadze hits a 'bullseye' with unknown Scott. …Gvetadze performances are beautiful: narrative, colourful, transparent.
NRC, 24-10-2019

These pieces are a treasure box for every pianist, and the fact that Nino Gvetadze feels very comfortable with them cannot be overheard. She plays imaginatively, letting the French characteristics of the music become just as clear as its unusual rhythms, and all this in manifold shimmering colours.
Pizzicato, 15-10-2019

Gvetadze makes her grand piano whisper and sing and let the rich colorite of the music shine beautifully. With her refined touch, she manages to touch the nocturnal, dreamy atmosphere that characterizes many of the pieces.
Het Parool, 04-10-2019

Gvetadze highlights both the uniqueness and the importance of Scott's work through her refined playing and sometimes remarkable tempo choices.
De Nieuwe Muze, 01-10-2019

Nino Gvetadze gives piano works by Cyril Scott a velvety shine.
De Volkskrant, 26-9-2019

A strong aspiring an blissful yearning, Befreed from sense of separateness or dole; A gladness born of last delights' enrapt returning, To lie embraced for eye within the soul. That mood image applies entirely to the music, and to the special interpretation. I hope for more Cyril Scott from Nino Gvetadze.
Opus Klassiek, 22-7-2019

Play album Play album
01.
Berceuse
04:22
(Cyril Scott) Nino Gvetadze
02.
Poems: I. Poppies
02:30
(Cyril Scott) Nino Gvetadze
03.
Poems: II. The Garden of Soul - Sympathy
03:01
(Cyril Scott) Nino Gvetadze
04.
Poems: III. Bells
02:21
(Cyril Scott) Nino Gvetadze
05.
Poems: IV. The Twilight of the Year
03:31
(Cyril Scott) Nino Gvetadze
06.
Poems: V. Paradise - Birds
03:43
(Cyril Scott) Nino Gvetadze
07.
Lotus Land, Op.47 No.1
05:00
(Cyril Scott) Nino Gvetadze
08.
Water-Wagtail, Op.71 No.3
02:37
(Cyril Scott) Nino Gvetadze
09.
Sphinx, Op.63
04:44
(Cyril Scott) Nino Gvetadze
10.
Intermezzo Op. 67, No. 3
02:36
(Cyril Scott) Nino Gvetadze
11.
Summerland Op. 54: I. Playtime
01:06
(Cyril Scott) Nino Gvetadze
12.
Summerland Op. 54: II. A Song From the East
01:32
(Cyril Scott) Nino Gvetadze
13.
Summerland Op. 54: III. Evening Idyll
02:44
(Cyril Scott) Nino Gvetadze
14.
Summerland Op. 54: IV. Fairy Folk
01:38
(Cyril Scott) Nino Gvetadze
15.
2 Pierrot Pieces, Op.35: I. Pierrot triste (Lento)
02:55
(Cyril Scott) Nino Gvetadze
16.
2 Pierrot Pieces, Op.35: II. Pierrot gai (Allegro molto scherzando)
03:27
(Cyril Scott) Nino Gvetadze
17.
Columbine, Op.47 No.2
04:27
(Cyril Scott) Nino Gvetadze
18.
3 Little Waltzes, Op.58: I. Allegro poco scherzando
01:25
(Cyril Scott) Nino Gvetadze
19.
3 Little Waltzes, Op.58: II. Andante languido
02:25
(Cyril Scott) Nino Gvetadze
20.
3 Little Waltzes, Op.58: III. Allegretto gracioso
01:32
(Cyril Scott) Nino Gvetadze
21.
Morning song from the Jungle book
02:30
(Cyril Scott) Nino Gvetadze
22.
Over the Prairie
03:22
(Cyril Scott) Nino Gvetadze
show all tracks

Videos

Pianist Nino Gvetadze in mini doc 'Cyril Scott, back to the beginning'
Pianist Nino Gvetadze plays 'Bells' by Cyril Scott
Nino Gvetadze, piano - 'Colombine' by Cyrill Scott
Nino Gvetadze - Three little waltzes - Podium Witteman
Nino Gvetadze - Poems: deel 5. Paradise Birds - Cyril Scott | Podium Witteman

Often bought together with..

Ma France - Chansons Symphoniques
Philippe Elan / Residentie Orkest the Hague / Jurjen Hempel
Complete Piano Trios vol. 4
Van Baerle Trio
Rise and Shine
Ruud Breuls / Simon Rigter Quintet
Complete Piano Trios vol. 2
Van Baerle Trio
Live at The Concertgebouw 1961
Oscar Peterson Trio
Ghosts
Nino Gvetadze

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