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 2240
REGER • BACH
SANTIAGO RODRIGUEZ and PETER RÖSEL, duo-pianists
Reger: Variations and Fugue on a theme of Mozart, Op. 132a, with two pianos; Bach: Brandenburg Concerto No. 3 in G major, BWV 1048;
Brandenburg Concerto No. 5 in D major, BWV 1050
(Arrangements for piano four-hands by Max Reger­performed on two pianos)

INTRODUCING THE ARTIST:

Peter Rösel was born in Dresden in 1945 and began to study the piano at the age of six. After his graduation in Germany, he studied at the Tchaikovsky conservatory in Moscow with the great pedagogues and virtuosos Dmitri Bashkirov and Lev Oborin. He participated in various international piano competitions at which he was always among the top prize winners. In 1963, after winning the Silver Medal at the Schumann in Zwickau, that the public became truly aware of his artistry. He was also a prize winner in the 1966 Tchaikovsky Competition and took the silver medal at the International Piano Competition in Montreal.

His recordings number over thirty on a variety of labels including EMI, Eurodisc and Eterna and comprise, among others, the entire Brahms piano literature, all of the Rachmaninov concerti and various works by Beethoven, Mozart, Schubert, Mussorgsky, Stravinsky, Haydn, Schumann, Tchaikovsky and Prokofiev.

Mr. Rösel has concertized world-wide and has participated in many European music festivals. Since 1976, Peter Rösel has been a frequent soloist with the Leipzig Gewandhaus Orchestra and has appeared with them over 100 time on foreign tours. He made his American orchestral debut in performances of the five Beethoven concertos with the Los Angeles Philharmonic.

CRITICAL ACCLAIM:

"...these pieces (Reger's Variations and Fugue on a Theme of Mozart ) have been recorded fairly often though never in better performances than this...the real surprise comes from Reger's transcriptions of bach's Brandenburg Concertos No. 3 and 5. This performances establishes the value of these transcriptions as substantial art in their own right. It has the special fascination of familiar music heard in an unfamiliar form, and it almost convinces one that Bach might have first imagined this music played on two keyboards..." --Joseph McLellan --The Washington Post