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NEWS!!!!
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NEW BLOG ADDRESS - Sunday, December 27, 2009

PLEASE VISIT MY NEW BLOG AT:

 HTTP://ALESSIOBAX.BLOGSPOT.COM

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NOVEMBER 2nd 2009, 730PM! "BACH TRANSCRIBED" CD RELEASE EVENT @ (le) poisson rouge in NYC - Monday, October 12, 2009

CD RELEASE PARTY IN NEW YORK CITY

Really excited about this! My new CD "Bach Transcribed" will finally be out in the US. There will be a concert/party on NOVEMBER 2nd, at 730PM at the wonderful new venue "(le) poisson rouge", 158 Bleecker Street, in New York City. You are all invited. It's going to be a relaxed and fun mixed program featuring selections from the disc as well as guest jazz pianist Dan Tepfer with his take on the Goldberg Variations! See you all on November 2nd! Meanwhile you can find the cd on iTUNES, amazon.com and all other on-line music stores, directly at signumrecords.com, at (le) poisson rouge on November 2nd and if you are lucky even in one of the few record stores left in this world...

Hope to see you all on November 2nd!

Alessio

 

Here it is: 

CD Release Event: Bach Transcribed. Alessio Bax and guest Dan Tepfer

Date:
Monday, November 2, 2009
Time:
7:30pm - 9:00pm
Location:
Le Poisson Rouge
Street:
158 Bleecker Street
City/Town:
New York, NY
 

Description 

Alessio's "Bach Transcribed" CD will soon be out in the US.
Named "CD of the Week" by Classical FM in the UK, it features works by Bach re-invented by Busoni, Godowski, Saint-Saens, Kempff, Siloti, Petri and Bax himself...

Bach's music stands the test of time and shows its versatility in ways that can challenge the artistic imagination to the limit.

Alessio will present the CD and play a handful of selections from the disc, including Busoni's glorious piano transcription of the Chaconne for solo violin, as well as Bach's own take on an Italian oboe concerto by Marcello.

*Special Guest* appearance by amazing Jazz-pianist/composer Dan Tepfer who will present excerpts from his "Goldberg Variations Project" in which he will play selection of variations from J.S. Bach's seminal work and add to it his own commentary, in the form of improvisations on each variation.

Tickets are $15

go to http://lepoissonrouge.com/events/view/603 for more info
 read more ...
2009 Avery Fisher Career Grant Recipient - Friday, April 24, 2009
2009 Avery Fisher Career Grant Winner!
 
It is our great pleasure to announce that pianist Alessio Bax has been awarded the Avery Fisher Career Grant for 2009. These grants give professional assistance and recognition to talented instrumentalists who the Recommendation Board and Executive Committee believe have great potential for solo careers. Past winners include Joshua Bell, Hilary Hahn, and Gil Shaham. The announcement was made yesterday, April 23, and was accompanied by a performance which will be broadcast on WQXR on May 4 at 8:00 PM.
 
 
 
Alessio on Clavier Companion - Wednesday, March 25, 2009

Alessio is the featured cover artist for Clavier Companion.

Read about it on the next issue of Clavier Companion or go to  www.claviercompanion.com and listen the the complete interview!

 

 

 

 read more ...
Alessio's Recital on the Dallas Morning News "TOP 10 list" of Best Classical Music Events for 2008 - Monday, February 09, 2009

Alessio's Dallas Recital on March 2 made it to #5 on Scott Cantrell's TOP 10 list for 2008!

....."in an amazing Caruth Auditorium recital he played to all the music's extremes; in the best sense, the music sounded made up on the spot. "....

Also,at #10 was the Mimir International Chamber Music Festival in Fort Worth, which included performances by Alessio during the summer.

 

 

 
PHOTO BLOG - Wednesday, October 01, 2008

Check out my PUBLIC PHOTO BLOG from my tours

@

http://picasaweb.google.com/alessiobax

Enjoy,

 

Alessio

 read more ...
Latest News!! - Thursday, June 19, 2008
June 18, 2008
 
Bax Joins Chamber Music Society of Lincoln Center's CMS Two
Alessio Bax has been selected to participate in CMS Two beginning in the 2009-10 season.

 

THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER

DAVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS

ANNOUNCE

 

APPOINTMENT OF 14 MUSICIANS TO

CMS TWO RESIDENCY PROGRAM

FOR OUTSTANDING YOUNG ARTISTS

 

            AUDITION WINNERS TO JOIN CMS INTERGENERATIONAL

ARTIST ROSTER IN 2009-10 SEASON

 

The Chamber Music Society is pleased to announce the appointment of fourteen outstanding young musicians to its prestigious CMS Two program.  Chosen from a record-setting field of 240 applicants from thirteen countries, each one is an award-winning performer with exceptional musical training and a passionate interest in chamber repertoire.  This extraordinary appointment affords these young musicians three full seasons of participation in every facet of CMS activity: performances on all stages during the New York concert season; international and national tour appearances; recordings on both the in-house CMS Studio label, and Deutsche Grammophon’s digital concert series; and numerous educational outreach opportunities.  The depth of this involvement reflects the commitment of CMS, under the leadership of artistic directors, David Finckel and Wu Han, to fostering an intergenerational roster of talent.

 

The new CMS Two members will begin their formal three-year residency in the 2009-10 season.   They are flutist Sooyun Kim; violinists Bella Hristova,  Jinyeong Jessica Lee, Jung-Min Amy Lee, and Kristin Lee; violinist/violist Yura Lee; violist Mark Holloway; cellists Nicolas Altstaedt, Andreas Brantelid,  Nicholas Canellakis, and Jakob Koranyi;  pianists Alessio Bax and Juho Pohjonen; and harpist Bridget Kibbey.  [Please see brief biographies below.]

 

David Finckel and Wu Han commented on the appointments:

 

After an extensive audition process, during which we heard an unprecedented number of stellar candidates, we have selected the group of exceptional individual artists who will be joining us beginning in the 2009-10 season.  We look forward to presenting these important musicians in every aspect of CMS activity, and to enjoying the enthusiasm and artistry they will contribute to the musical fabric of CMS.

 

In addition to CMS Artistic Directors David Finckel and Wu Han, the distinguished panel of judges included Norma Hurlburt, CMS Executive Director; Jeremy Geffen, Director of Artistic Planning, Carnegie Hall; Ara Guzelimian, Dean, The Juilliard School; Scott Nickrenz, Music Director, Isabella Stewart Gardner Museum; Sharon Robinson, cellist, Kalichstein-Laredo-Robinson Trio; Da-Hong Seetoo, violinist and recording producer; and CMS Artists clarinetist David Shifrin, violinist Ani Kavafian, and violist Paul Neubauer. 

 read more ...
DALLAS MORNING NEWS REVIEW!!! - Monday, March 24, 2008
Dallas Morning News, Scott Cantrell, March 2, 2008

Every so often, a concert takes us away from a world of political campaigns, rising gas prices and sinking 401(k)s and into realms of magic. Such was the case with pianist Alessio Bax's recital Saturday evening at Southern Methodist University's Caruth Auditorium. Now on the faculty of SMU's Meadows School of the Arts, Mr. Bax was presented in the school's Distinguished Artist Recital Series.
In 2000, the Italian-born pianist, who did graduate study at SMU with Joaquín Achúcarro, won one of the most prestigious international piano competitions, the Leeds. And when I first heard him, he sounded like a competition winner: technically skilled and tasteful, but without a distinctive stamp.
Each time since then he has evinced more personality. This time represented a quantum leap, with playing that went all-out for expressive intensity.
Clean-cut good behavior has become too much the defining virtue of modern music-making. Mr. Bax's performances, by contrast, risked everything. In virtuoso passages of the Beethoven Appassionata Sonata and the first book of Brahms' Paganini Variations he pushed power and speed to the very edge – as both those pianist-composers reportedly did in their performing heydays.
As with old pianists captured in early 20th-century recordings, Mr. Bax went for the big gestures, bending the little notes to larger purposes. But quiet openings of the Beethoven and the Brahms Op. 10 Ballades, and two gentle Bach transcriptions by Alexander Siloti, seemed to come out of some dreamy nowhere. Never have the ballades sounded so wondrous strange, their harmonic progressions so exquisitely unpredictable.
Great music-making has the illusion of spontaneity – and a quality of ecstasy. Start to finish, Mr. Bax sounded as if improvising the music on the spot. He went wherever its spirit, now tempestuous, now sublime, took him. If clarity was occasionally sacrificed to earthquake, wind and fire, so be it. But introspective music became an out-of-body experience.
[…] go-for-broke, blood-stirring playing like this was an experience to treasure. And no one could play the Kreisler-Rachmaninoff Liebesleid, the first encore, with more delicious charm.
 
RUSSIAN JOURNALRUSSIAN JOURNAL - Saturday, December 22, 2007

HELLO TO ALL!

I HAVE WRITTEN A LONG JOURNAL ABOUT MY RUSSIAN TOUR LAST NOVEMBER. THE TOUR LASTED ALMOST A MONTH AND TOOK ME FROM EASTERN SIBERIA ALL THE WAY TO MOSCOW...

IF YOU'D LIKE TO READ IT, JUST SEND ME A MESSAGE, AS IT IS A BIT TOO PERSONAL TO POST ON-LINE

Meanwhile, to see some pictures click down here...

HAPPY HOLIDAYS

 

ALESSIO

 read more ...
2007 Alessio and Lucille Photoshoot2007 Alessio and Lucille Photoshoot - Saturday, December 22, 2007
See here the latest Alessio and Lucille Photoshoot. By Lise-Marie Mazzucco read more ...
2007 GDYO China Tour - Friday, June 22, 2007

This NEW link is for GDYO people. 2007 GDYO Tour of China. ...Alessio

Click on "read more" for the link:

 read more ...
Verbier Picutres - Monday, August 14, 2006 - Saturday, September 16, 2006
Click on "read more" to see some pictures from the 2006 Verbier Festival and Academy! read more ...
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Written by: alessiobax
Saturday, November 25, 2006 6:32 PM

A lesson today ignited some thoughts in me (amazing, isn't it)? We spend all our lives trying to make the music we play "ours" when, most of the time, all we do is lower the music to our level. Let me explain. We spend hours and hours in front of this awkwardly-shaped piece of furniture, and why? Because we are not happy with the way this or that sounds, because we haven't "mastered" this or that passage, or because we haven't "learnt", or "memorized" all the notes of this or that piece of music. Now, if you never felt that way, congratulations to you, but I am sure most of us have gone through this, at one point or another. Some of us have felt this often, while some others have really never bothered to ask.

What this achieves, no matter how we spin it, is the lowering of music to our own level. We put our limitations to play, and use all our powers to "learn" the music. This can be a very destructive process, in my opinion. Only when we realize that music is bigger than ourselves, we can attempt to get closer to it. In other words, we can try to rise to a level that is as close as possible to the music we are playing. Only then, our curiosity to understand the music, to explain it, and to perform it, can push us in the right direction and make us grow both as musicians and as people.

So, I think the key is in the music itself, which should pose an unlimited number of questions and should beg for a fair amount of answers. Music has to be understood and respected, as opposed to controlled and mastered (like a wild beast). It should be our friend, yes, but more importantly our biggest teacher, for very often the answers we look for, are hidden within the questions we ask ourselves and within the questions that music asks us. This is very close to a child-like curiosity, a need to know, a need to explain, a need to question everything, over and over again. This is the beauty of our world. We are working for something bigger than us (in this case music), something that inspires us to be better, and something that should be served, rather than owned. I see very little space for "ego" in this theory, and it really emphasizes my theory that "ego" can be the number one enemy in music. The confidence we are all hoping for should perhaps come from the fact that hopefully day after day we do get a step closer to understanding music, its sense and its purpose in our lives.

 

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Written by: alessiobax
Saturday, November 25, 2006 6:32 PM

A lesson today ignited some thoughts in me (amazing, isn't it)? We spend all our lives trying to make the music we play "ours" when, most of the time, all we do is lower the music to our level. Let me explain. We spend hours and hours in front of this awkwardly-shaped piece of furniture, and why? Because we are not happy with the way this or that sounds, because we haven't "mastered" this or that passage, or because we haven't "learnt", or "memorized" all the notes of this or that piece of music. Now, if you never felt that way, congratulations to you, but I am sure most of us have gone through this, at one point or another. Some of us have felt this often, while some others have really never bothered to ask.

What this achieves, no matter how we spin it, is the lowering of music to our own level. We put our limitations to play, and use all our powers to "learn" the music. This can be a very destructive process, in my opinion. Only when we realize that music is bigger than ourselves, we can attempt to get closer to it. In other words, we can try to rise to a level that is as close as possible to the music we are playing. Only then, our curiosity to understand the music, to explain it, and to perform it, can push us in the right direction and make us grow both as musicians and as people.

So, I think the key is in the music itself, which should pose an unlimited number of questions and should beg for a fair amount of answers. Music has to be understood and respected, as opposed to controlled and mastered (like a wild beast). It should be our friend, yes, but more importantly our biggest teacher, for very often the answers we look for, are hidden within the questions we ask ourselves and within the questions that music asks us. This is very close to a child-like curiosity, a need to know, a need to explain, a need to question everything, over and over again. This is the beauty of our world. We are working for something bigger than us (in this case music), something that inspires us to be better, and something that should be served, rather than owned. I see very little space for "ego" in this theory, and it really emphasizes my theory that "ego" can be the number one enemy in music. The confidence we are all hoping for should perhaps come from the fact that hopefully day after day we do get a step closer to understanding music, its sense and its purpose in our lives.

 

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