Spain's Jaime Martín has had significant careers as a flutist and, beginning in the late 2000s, as a conductor. Martín was born in Santander, northern Spain, on September 1, 1965. He studied the flute in Madrid with Antonio Arias and moved on for further work with Paul Verhey in The Hague, the Netherlands. As a flutist, he's performed with the London Mozart Players, the Royal Philharmonic Orchestra, the Academy of St-Martin-in-the-Fields, the European Chamber Orchestra, the Moscow Virtuosi, and various orchestra across Spain and the Canary Islands including the Cadaqués Orchestra, which he co-founded. Martín was the first flutist at the Royal Philharmonic from 1997 to 2001. He made several flute recordings, including the recorded premiere of the Sinfonietta Concerto for flute and orchestra of Xavier Montsalvatge, which had been written especially for him. Martín switched to conducting in 2008, with Academy of St.-Martin-in-the-Fields conductor Neville Marriner as a mentor, and made rapid progress, appearing with such orchestras as the London Philharmonic Orchestra, the London Mozart Players, the Royal Liverpool Philharmonic, the Orchestre Philharmonique de Radio France, the Saint Paul Chamber Orchestra, the Beijing Symphony Orchestra, the Swedish Radio Symphony Orchestra, and the Winterthur Orchestra in Switzerland. Martín has made several prominent operatic appearances since his debut, conducting Mozart's Die Zauberflöte, in 2012; he led Rossini's Il barbiere di Siviglia at the English National Opera in 2013 and returned the following year for Mozart's Le nozze di Figaro. Martín has led the Gavle Symphony Orchestra in recordings for the Ondine and BIS labels. During the 2017-2018 season he conducted the Los Angeles Chamber Orchestra with violinist Joshua Bell as soloist, opening the orchestra's season, as well as appearing for the first time with the Frankfurt Radio Symphony, Bilbao Symphony, and the Essen Philharmonic Orchestra. In 2018, he was named music director of the Los Angeles Chamber Orchestra, ascending the podium in the fall of 2019. ~ James Manheim
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Vocale muziek (wereldlijk en religieus) - Verschenen op 10 november 2017 | Ondine
Hi-Res Booklet Onderscheidingen 5 de Diapason
The main attraction of this album is to present, in addition to a few already established recorded works such as Brahms’ Nänie, Gesang der Parzen (Song of the Fates) and Schicksalslied (Song of Destiny), the Liebeslieder Walzer in its orchestral version as imagined by the composer himself. Surprisingly while the versions for piano duet and vocal quartet have often been recorded, that is not the case for the nine waltzes selected by Brahms in 1870 for his orchestral rewriting; indeed they were only edited in the 1930s, most likely forgotten in favour of more marketable versions. Another relative rarity is the Begräbnisgesang (Burial Song) op. 13 for choir and wind, an instrumentation that made the work usable for outdoor celebrations. The excellent Eric Ericson Chamber Choir, funded in 1945 by the notorious choral conductor, accompanied by the Gävle Symphony Orchestra from Sweden perform these sumptuous pieces in a stunningly beautiful recording. © SM/Qobuz
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