SKU: 51131974381

khoreia volt potenza duo

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khoreia volt potenza duoKHOREIA (CVLD276) Composer: AAVV Performer: VOLT & POTENZA DUO Available in: File HD, CD Tracks Johann Christoph Friedrich Bach (1732 1795) [11: 53] Sonata for 4 Hands in A major 01 I. Allegro con spirito [07: 45] 02 II. Rondo: Allegretto [04: 08] Pianoforte Steinway & Sons D274 Robert. Schumann (1810 1856) [27: 44] Ball Scenen, Op. 109 (1851) 03 I. Prambule [01: 32] 04 II. Polonaise [03: 04] 05 III. Walzer [02: 10] 06 IV. Ungarisch [02: 24] 07 V.

KHOREIA (CVLD276)

ComposerAAVV
PerformerVOLT & POTENZA DUO

Available in: File HD, CD

Tracks

Johann Christoph Friedrich Bach (1732-1795) [11:53]
Sonata for 4 Hands in A major
01 - I. Allegro con spirito [07:45]
02 - II. Rondo: Allegretto [04:08]
Pianoforte Steinway & Sons D274

Robert. Schumann (1810-1856) [27:44]
Ball-Scenen, Op. 109 (1851)
03 - I. Préambule [01:32]
04 - II. Polonaise [03:04]
05 - III. Walzer [02:10]
06 - IV. Ungarisch [02:24]
07 - V. Française [02:06]
08 - VI. Mazurka [04:32]
09 - VII. Ecossaise [02:38]
10 - VIII. Walzer [04:21]
11 - IX. Promenade [04:57]
Pianoforte Steinway & Sons D274

Philip Martin (b. 1947) [09:28]
12 - Electric Prisms (2015), CD commission
Pianoforte Yamaha CFIII S

Edvard Grieg (1843-1907) [09:09]
Holberg Suite, Op. 40 (''From Holberg's Time") (1884)
Four-hand piano arrangement by Theodor Kirchner (1823-1903)
13 – No. 4: Air [04:42]
14 – No. 5: Rigaudon [04:43]
Pianoforte Yamaha CFIII S



Notes

“Khoreia”, the Greek term for “dance”, fully expresses the meaning of our project, which is the need to enhance the fascinating and varied universe of the four-hand piano repertoire by listening to lesser-known pieces that encapsulate hidden and unexplored qualities.
We would like to offer a journey through history: from Johann Christoph Friedrich Bach's (1732-1795) "Sonata in A Major", a musical pearl of the emerging sensitive style, to the unreleased piece "Electric Prisms" composed by the Irish Philip Martin who, inspired by the works of painter Sonia Delaunay (1885-1979), offered unique scenarios capable of revealing the multiple contemporary emotions of early twentieth-century Paris.
We also decided to include the passionate and intimate spirit of Robert Schumann (1810-1856) with the collection of musical miniatures titled "Ball-Scenen op.109", a duo composition that represents the more impulsive yet reflective character of his compositional style.
Finally, to add intensity and movement to this selection, as in the most engaging dances, we proposed two of the five movements from Edvard Grieg's (1843-1907) famous "Holberg Suite", transcribed for four-hand piano by the German composer Theodor Kirchner (1823-1903).
May “Khoreia” transport you into a sublime dance, where from the most varied melodies and sonorities, you can grasp the beauty and musical complexity of an art with a thousand nuances.
The recording was made in high-resolution digital 24bit/88.2kHz at Studio Zanta in Camponogara, Italy, alternating between two splendid pianos, a Steinway & Sons D274 Concert Grand and a Yamaha CFIII S Concert Grand.

Volt & Potenza Duo
The Volt & Potenza duo has performed, since its inception in 2014, at important musical centres in Europe, including St. Martin-in-the-Fields and St. James Picadilly in England. The duo was also chosen to participate in the Powderham Castle New Generation Artists Scheme in Exeter. For more information, visit www.voltandpotenzaduo.com

Oda Voltersvik
Oda Voltersvik has been described by renowned conductor Marios Papadopoulos as "a pianist of great sensitivity and beautiful sound" and by pianist Gabriele Baldocci as "a musician with wonderful control of the instrument and an innate sense of music". The Norwegian artist obtained a Master's Degree in Performance from the Royal College of Music in London in 2014 under the guidance of professors Andrea Ball and Niel Immelman, and a Postgraduate Artist Diploma with Distinction from Trinity Laban Conservatoire of Music and Dance in 2015 under the guidance of Gabriele Baldocci. She attended masterclasses held by internationally renowned teachers such as Menahem Pressler, Gary Graffmann, Christina Ortiz, Marios Papadopoulos and Vladimir Krainev during the prestigious piano festival organized by the Oxford Philharmonic Orchestra. In Norway, she participated in masterclasses held by Leif Ove Andsnes, Håvard Gimse, Ihle Hadland and Jiri Hlinka. Oda has performed in Norway at the Norwegian National Broadcasting, at the opening of Edvard Grieg's Jubilee in 2007, and as a soloist and chamber musician for the Bergen Chamber Music Society and the Grieg in Bergen Series. She has also performed at the Leipzig Town Hall, the 1st International Folk Music Festival in Beijing, the Amaryllis Fleming Hall, the Regent Hall, the Marlow Recital Society, the residence of the Norwegian ambassador in London, and the Jacqueline du Pré Concert Hall in Oxford. During the summers of 2014 and 2015, she was appointed "Artist in residence" at Troldhaugen (E. Grieg's residence). She played with the Sinfonietta of Athens in 2010 and the Norwegian–Polish Youth Orchestra in Poland and Bergen in 2014. Oda was a finalist in the Trinity Laban Soloist's Competition 2016. She is the founder of the Volt Ensemble, a chamber music group composed of talented musicians from Scandinavia.

Giulio Potenza
Considered by Martha Argerich "a pianist of great talent and expressive beauty", and by Pascal Rogè "a pianist of brilliant technique and refined musicality", Giulio Potenza was born in Palermo in 1990. He obtained his piano diploma with highest honours from the "A. Scontrino" conservatory in Trapani under the guidance of Walter Roccaro. He furthered his studies with Bruno Canino in Milan and at the Trinity Laban Conservatoire of Music and Dance in London with Gabriele Baldocci and Mikhail Kazakevich, where he obtained his Postgraduate and Postgraduate Artist diplomas with distinction, supported by the "Alfred Kitchen" and "Jacqueline Williams" scholarships. He took part in lessons, masterclasses and meetings held by important teachers including: Andrzej Jasiński, Deniz Gelenbe, Franco Scala, Martino Tirimo, Barry Snyder, Andrey Gavrilov and Irene Inzerillo.
He has performed at important festivals including the Martha Argerich Project in Lugano, the Grieg in Bergen Festival in Bergen, the Hammamett Piano Festival in Hammamett, and the Schubert Festival in London. He has also given concerts in prestigious musical centres such as the Steinway Hall in London, St. Martin-in-the-Fields, St. John's Smith Square, Blackheath Hall in England, the Auditorium S. Stefano in Florence and the Auditorium Rai in Palermo in Italy, the Atelier Marcell Hastir in Brussels in Belgium, and the Teatro Sociale in Bellinzona in Switzerland. He has collaborated as a soloist with numerous orchestras including the Florence Symphonietta conducted by Piero Bellugi, the University London Symphony Orchestra conducted by Daniel Capp, and the North Beds Chamber Orchestra conducted by Jan Kaznowski.
He was the winner of the prestigious "Hannah Brooke Prize", an award for his concert career achievements during his studies at the Trinity Laban Conservatory in London. He has also won numerous piano competitions including: the "Premio Seiler" International Piano Competition, the "A.GI.MUS" competition in Rome, and received a special mention at the "Jacques Samuel Piano Competition" in London. He was also chosen by the prestigious Concordia Foundation in London to take part in the Young Artist Programme.
His performances have been broadcast by BBC Radio 3, Radio Swiss Classic, Radio Mozart Italia and RAI.
Giulio has been invited to give masterclasses in Tunisia, England and Italy.
He is currently a piano professor at the Windsor Piano Academy in Windsor and artistic director of the Windsor International Piano Competition.
He also holds a degree in History from the University of Palermo with highest honours.

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Stevens wrote, "She sang beyond the genius of the sea." He did the same.
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Thank you to the publisher for an ebook copy of Stevens' work. My ancient paperback copy is now retired. As for the poetry: my respectful suggestion is to read it and not feel obliged to understand it. Reading a poem isn't a contest you have to win. Let the music of the words wash over you. Float. You don't have to bring anything to this party except your willingness to be surprised, the way you're sometimes surprised, on waking, by a dream you had. Happy reading, whatever you choose to read.
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The corrections to the text of the 1954 Collected Poems are worth paying for, but the attractive, highly readable typeface and layout make this collection pleasantly readable as well as compelling. Stevens is one of the greatest poets of the twentieth century, and in his corporate pin-stripe portliness he is also an inspiration to all of us basically nerdy, tweedy, non-Beat types who hope we possess a tiny spark of poetic genius. Romantic and post-romantic poetry is an argument between imagination and reality, and no one clarifies the terms of that argument better than Stevens.
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Even though I'm reading the hardcover, I wrap the wonderful, wise words of W.S. Merwin around me. His poems infuse my life with an even keener sense of appreciating the "now." His words keep me in constant contact with my sense of responsibility for our planet. He's an inspiration for taking action to preserve, conserve, and plant trees, as well as recognizing the magnitude of the impact that each being carries. The geese, all animals, relationships, taking better care of the earth and each other, as well as experiencing the sorrows and the joys in life. He is dedicated to the craft of poetry and its vital role of importance in our lives. I wish I could thank him in person, but since that's not realistic, I will continue to do my best to honor him in my own way, by taking time to observe, experience, appreciate, write, take action, and reflect upon the beauty in the world and making the most of each moment. Carpe Diem!
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If one volume could sum up adequately W.S. Merwin's artistic development and illustrate his place in American literature with some justice, "Migration" does the job. At least as importantly, it gives us the poet's own opinion on the poems for which he might want to be remembered, much as Nathaniel Tarn inspired Pablo Neruda to do in the selection of Neruda's poems that Tarn oversaw. I bought "Migration" at roughly the same time as and and cross-referenced his selection from those titles in "Migration" against the whole. While I still have one or two favorites that did not make the cut, I found the choices he made consistently better-inspired and more timeless than the poems that surrounded them (though overall Merwin has remained a consistent and astonishingly fine craftsman throughout his career). For those who want to go further back than Merwin's more recent books for Copper Canyon Press should not be disappointed.
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