Kinga Cserjési and Deborah Carmichael

In anticipation of Libero Canto’s upcoming New York City workshop (February 15-17th), singers Deborah Carmichael and Kinga Cserjési would like to share this supplemental film: “Libero Canto – Voice is Breath,” made by award-winning director Andrea Simon in 2001. The film focuses on the work of Edvin Szamosi (son of founder Lajos Szamosi), and the history of the Libero Canto Approach.


Click to play “Libero Canto – Voice is Breath”

The film, while made almost 20 years ago, still serves as an inspiring introduction to the approach, which continues to evolve and thrive through the work of dedicated teachers and students in many cities including New York, Toronto, Florence, The Hague, and Budapest. Carmichael and Cserjési feel the film will be of interest to many different people, among them singing teachers, music teachers, teachers of children, singers, musicians, actors, dancers, anyone in the performing arts, and anyone interested in the arts, pedagogy or psychology.

The path to free singing” was first developed by Lajos Szamosi in Budapest before the Second World War. This unprecedented pedagogic approach was carried on and further developed by Lajos’s son Edvin Szamosi, who taught singing in Vienna and New York City for more than 50 years, until his death in 2014.

Through interviews and footage of lessons and rehearsals, “Libero Canto – Voice is Breath” draws the viewer into the musical and human evolution of Edvin Szamosi’s students both in New York, and in Vienna. The care, love, and attention to detail with which the film is made reflect these same qualities in Edvin’s teaching. With gentleness, rigor, and humor, Mr. Szamosi guides his students towards increasing freedom, spontaneity, and authenticity.


Deborah and Kinga are still accepting applicants for their February workshop.
for more information, click here or email [email protected].

This February 15th through 17th, singers Deborah Carmichael and Kinga Cserjési will offer a three-day workshop to give participants a thorough introduction to the Libero Canto Approach. The workshop includes individual singing lessons, musical work, and sessions in listening to historical and contemporary vocal recordings, and will be held at the Rudolf Steiner School, 15 E. 78th Street in New York City. The cost is $200, and space is limited to 8 singers.

To apply, or for more information, email [email protected] by February 1st with a short statement about your musical background and why you are interested in the workshop. You may also be asked to provide a recording. All vocal types are welcome. Those who would like to experience the Libero Canto Approach prior to the workshop are invited to take a free introductory lesson with Kinga Cserjési.

Moreover, for those who apply for the workshop by January 18, a 20% discount ($160) will be offered if accepted. (Additional financial assistance may be available upon request – please contact [email protected] by January 18.)


Singers Deborah Carmichael and Kinga Cserjési

Using Early Italian arias and ensemble pieces, the workshop is designed to give participants a thorough introduction to the Libero Canto approach: a way of teaching singing that leads to freedom and naturalness of vocal expression. It is not a method or specialized technique, rather a process and attitude toward singing and music making.

A central idea of Libero Canto is that the release of excess physical tension and force allows the body to become genuinely responsive to the singer’s musical feeling and imagination, thereby giving singing the spontaneity and vitality of true expression. (The name ‘Libero Canto’ comes from “la via al libero canto,” the path to free singing. This approach was originated by Lajos Szamosi in Budapest before the Second World War.)


SCHEDULE (subject to change) 
* Friday, Feb. 15
5:00 – 8:00 p.m. Introduction and listening session

* Saturday, Feb. 16
10:00 a.m. – 1:00 p.m. Individual lessons (auditing encouraged);
2:30 – 6:30 p.m. Musical work and listening session (all present)

* Sunday, Feb. 17
12:00 – 3:00 p.m. Individual lessons (auditing encouraged);
4:30 – 7:30 p.m. Musical work and conclusion (all present)


for more information, please visit liberocanto.com


Violist Jeongeun Park is set to make her debut at Carnegie Hall on December 17th, 2018 at 8pm. (Tickets are available through Carnegie Hall’s website.)

A monumental moment in Park’s career, she wanted to share her program notes about the four works she will be performing.

Poetically conceived by Park around themes of romance and fantasy, this program moves from dreamy beginnings to a serious and somber conclusion, with Shostakovich’s Viola Sonata, composed right before the composer’s death.


Carl Reinecke (1824-1910),
3 Fantasiestücke for Viola and Piano, Op. 43

As a pianist, violinist, composer, conductor and teacher, the German composer Carl Reinecke (1824-1910) was one of the most versatile musicians of his time. He was born in Altona, then under Danish rule and initially trained under his father (Rudolf Reinecke, 1759-1883). The younger Reinecke began composing at the age of seven, and debuted as a pianist at the age of twelve. He underwent a remarkable musical education, studying with the likes of Felix Mendelssohn and Robert Schumann. Reinecke’s early works were faithful to the early masters of the Romantic era who trained him while in Leipzig. 3 Fantasiestücke for Viola and Piano, Op. 43 was composed in 1844. The opening, Andante, explores a warm, song-like viola melody while the piano accompanies with rapidly flowing triplets. The second movement contrasts the first, resembling a scherzo with a folk-like refrain. The last movement, Molto Vivace, depicts the frenzied crowds of annual fairs carried on from the medieval era.

Sergei Prokofiev (1891-1953); arr. Vadim Borissovsky,
Selected pieces from the ballet Romeo and Juliet, Op. 64

Shakespeare’s Romeo and Juliet has influenced artists and musicians for centuries. The epitome of a tragic love story, it has been adapted to countless genres and forms such as opera, ballet, symphony, theater and film. Russian Composer Sergei Prokofiev’s interpretation initially resulted in music for ballet, written in 1935. The composer subsequently arranged the music as a standalone piece for orchestra.  Three Suites from Romeo and Juliet, Op.64. Following the success of the second version, Prokofiev reduced the score for Ten Pieces for Piano, in Op.75. The viola transcription was made by Vadim Borisovsky, a founding member of the Beethoven Quartet and professor at the Moscow Conservatory. Borisovsky is an important figure in the expansion of the viola repertoire. He is responsible the hundred arrangements. Despite the challenges of arranging and reducing a piece for large forces, the two instruments are able to imitate of the colour and textural sophistication of the orchestral version.

Gabriel Fauré (1845-1924),
Après un rêve (After a Dream), Op.7 No.1

The French composer Gabriel Fauré was a composer of immense technical skill. His ability to blend elements from seemingly disparate styles and eras made him an important bridge to the music of the twentieth century. Fauré studied with Camille Saint-Saëns, and went on to teach influential modern era figures such as Claude Debussy and Nadia Boulanger. Written between 1870 and 1877, Après un rêve features one the composer’s most beloved melodies. The piece, anticipates the impressionist style of later French composers. In Après un rêve , Fauré draws the poetry of Romain Bussine. Much like the contents of the poem, the melodic gestures are full of affection and nostalgia.

Dmitri Shostakovich (1906-1975),
Sonata for Viola and Piano, Op. 147

Along with Prokofiev, Dmitri Shostakovich is a towering figure of twentieth century Russian music. Despite the many limitations imposed on artists in the U.S.S.R., Shostakovich was a prolific composer and pianist with a distinctive style. Written in 1975, the Sonata for Viola and Piano, Op.147 was his final work. This piece was composed in 1975 and dedicated to Fyodor Druzhinin, a violist of the Beethoven Quartet, who replaced the founding member, Vadim Borisovsky as violist from 1964-1988. The piece was premiered in October of 1975, shortly after Shostakovich died. This viola sonata has three movements with a slow-fast-slow structure. In the first movement, the viola opens the theme with the pizzicato gestures continues on with a layered texture that mixes different melodic elements. The second movement is more rhythmically focused and direct than the first. It relies more on concentrated, often jagged melodic motives. The third movement, the composer blends his own ideas with borrowed material from Beethoven’s piano sonata No.14, ‘Quasi una Fantasia’, also known as the Moonlight Sonata. The final movement gradually fades away, almost as if the composer is referencing his own death.


For more information about Jeongeun Park, please visit her website.
For tickets to her upcoming Carnegie Hall debut, click here.

Jeongeun Park will perform works by Reinecke, Prokofiev, Fauré and Shostakovich

On Monday December 17, 2018 at 8pm, violist Jeongeun Park, along with pianist Eric Zuber, will celebrate her New York City concert debut as well as Carnegie Hall debut with a recital at Weill Recital Hall, Carnegie Hall, 57th Street and Seventh Avenue, New York, NY.

Tickets are $20, and are available at carnegiehall.org or by calling 212-247-7800.

Program:

Carl Reinecke Drei Phantasiestücke Op. 43
Sergei Prokofiev Suite from Romeo and Juliet, Op.64
Gabriel Fauré Après un rêve
Dmitri Shostakovich Sonata for Viola and Piano, Op.147 

Poetically conceived by Park around themes of romance and fantasy, this program moves from dreamy beginnings to a serious and somber conclusion, with Shostakovich’s Viola Sonata, composed right before the composer’s death.


Born in Seoul, South Korea, Jeongeun Park has been actively performing throughout the U.S. and Asia as a soloist and chamber musician. Park was the top prize winner of the Kookmin Ilbo Youngsan Art Chamber Competition, Eumak Journal Competition, and Sungshin University Competition, and has appeared in numerous solo and chamber music concerts in Seoul.

Her busy performing schedule has included her solo debut recital at the Youngsan Art Hall, Sookmyung Orchestra’s concerts at the Seoul Arts Center, KBS Hall and Jang Cheon Art Hall. Park also served as Principal Viola of the Sookmyung Orchestra, Assistant Principal Viola of the Gwacheon Symphony Orchestra, and has been a member of the Aspen Festival Orchestra.

Park earned her Bachelor’s degree at Sookmyung Women’s University under the tutelage of Professor Do-Yeon Kim in Seoul, South Korea. In the US, Park began her studies under Professor Catharine Carroll Lees in 2010 at the University of Cincinnati College-Conservatory of Music. She earned her Masters of Music, Artist Diploma and Doctorate of Musical Arts at CCM where she is currently a member of the adjunct viola faculty. Park has participated in many international summer music festivals including the Aspen Music Festival, the Miyazaki Music Festival, and the Just Vivace Music Festival.

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Pianist Inna Faliks’
Polonaise-Fantaisie: the Story of a Pianist

Click to watch a preview for this Saturday’s performance

A concert pianist of the highest order, Inna Faliks can be as dramatic or as subtle as a great stage actor.” —Marc Vitali, WTTW Radio

Lived, told, and played by pianist Inna FaliksPolonaise-Fantaisie: the Story of a Pianist has its upcoming New York Premiere, this Saturday October 13, 2018 at 7:30pm. Held at the Leonard Nimoy Thalia Theatre of New York’s Symphony Space, 537 Broadway at 95th St., NYC, tickets are $20, $15 for seniors and students, and available at SymphonySpace.org.

A new and exciting video has been made to promote the event, and we are proud to share it. The video features clips of Faliks demonstrating her outstanding piano skills, interpreting both classic and new works; as well as moments of her candid and accomplished narration, recalling her life’s story.  The music is interspersed with tales of her upbringing in Odessa, Ukraine; her musical and romantic awakenings; and her subsequent immigration to the US as a Jewish refugee. Each selection illustrates or relates to the text, either autobiographically or contextually.

An extension of her well-received Delos records release of the same namePolonaise-Fantaisie: the Story of a Pianist features work that spans 289 years in composition dates, from Bach and Mozart, to contemporary composer Jan Freidlin, who offered “Ballade in Black and White” especially for her.

Works in this Saturday’s program will include:

* Rodion Shchedrin: Basso Ostinato
* J.S. Bach: Prelude and Fugue in G-sharp Minor, The Well-Tempered Clavier, Book 1
* Jan Freidlin: Ballade in Black and White* – *composed for Inna Faliks in 2011
* W.A. Mozart: Fantasia in D Minor, K 397
* Chopin-Liszt: The Maiden’s Wish
* Paganini-Liszt: La Campanella
* Frédéric Chopin: Polonaise-fantaisie, Op. 61
* Ludwig van Beethoven: 6 Bagatelles, opus 126

Inna Faliks’ performance at Symphony Space is just one stop on her 2018-19 International Tour. For more information about her and the tour, please visit her website at InnaFaliks.com.