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Laura Moinian & Bratislava Symphony Orchestra – Cello Shadows (Special Edition 2022) (2022)
FLAC (tracks) 24 bit/44,1 kHz | Time – 45:10 minutes | 490 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Jona Music Publishing
Born into a musical family, Laura Moinian gave her first concert at the young age of six. She started studying the cello intensively when she was eight years old and has been rewarded over the years with numerous national and international awards and prizes. She is among the very few young cellists who are represented by the agency Tonalisten. This year she published her 2. CD “Cello Shadows” as a soloist with the Bratislava symphony orchestra. Her first CD “Inside Out” in collaboration with Jamie Bergin, concert pianist and assistant of Lars Vogt was published in 2016. Laura performed at the Kronberg Festival, Marrinsky Theatre St. Petersburg, Prinzregententheather München, Fränkische Musiktage and at the Elbphilharmonie Hamburg. She also made her Debut at a sold out Laeiszhalle with the Shostakovich cello concerto nr. 1
In march 2019 she won the audition of the Bavarian Radio Symphony Orchestra where she got a contract until 2022.
From 01. december 2021 she will start playing as the principal cellist of Mozarteum Orchester Salzburg.
Read more![Bratislava Symphony Orchestra, Anthony Armoré - John Robertson: Symphonies Nos. 4 & 5 (2021) [Official Digital Download 24bit/44,1kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/09/10/xofu1wpgkkxha_600.jpg?resize=500%2C500&ssl=1)
Bratislava Symphony Orchestra, Anthony Armoré – John Robertson: Symphonies Nos. 4 & 5 (2021)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:13:08 minutes | 693 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Navona
In an age accustomed to three-minute pop songs being the norm, does the world need more full-length symphonies? Yes, says New Zealand Canadian John Robertson with his new release, SYMPHONY NO 4 & 5. Like their predecessors, these orchestral works make no sacrifices in terms of scale and style: they aim to be grand, aesthetic compositions, and are intended to be enjoyed as such. Symphony No. 4 and Symphony No. 5 bear the opus numbers 73 and 76, respectively quite a feat, and even more impressive when one considers that composing wasn’t Robertson’s primary career. Instead, young Robertson had made the sensible choice to go into the insurance business. Nonetheless, the desire to invent music stuck. A competition win in 1987 eventually cemented this pastime as a worthwhile pursuit.
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