Diethard Hellmann was a German Kantor and an academic in Leipzig and Munich. Born in Grimma, Dietmann Hellmann was a member of the Thomanerchor, he studied church music in Leipzig with Günther Ramin. Hellmann was the organist for early recordings of Bach cantatas by Ramin, he was Kantor at the Friedenskirche in Leipzig from 1948 to 1955. At the same time, he was a teacher for organ at the Musikhochschule Leipzig, conducting the choir of the Hochschule, until 1951, a teacher at the Fürstenschule in Grimma. In 1950, he won a prize for organ at the first International Bach Competition, he started teaching choral conducting in 1952 and was appointed vice director of the department for church music in 1954. In 1955, he became Kantor of the Christuskirche in Mainz, where he conducted the Kantorei, which in 1965, was named the Bachchor. In November 1955, he performed a concert of Bach cantatas. In 1958, he was awarded a prize by German broadcaster Südwestfunk for his composition Musik auf Christi Himmelfahrt.
Hellmann was a teacher for Protestant church music at the Peter Cornelius Conservatory of Mainz, from 1963, at the Johannes Gutenberg-Universität Mainz as well. He published sheet music, including reconstructions of Bach's Ärgre dich, o Seele, nicht, BWV 186a for the Third Sunday in Advent, Singet dem Herrn ein neues Lied, BWV 190 and the St Mark Passion. Hellmann took the Bachchor on concert tours to France and Israel, he collaborated with singers such as Peter Schreier, Aldo Baldin, Ria Bollen, Ursula Buckel, Eva Csapó, Agnes Giebel, Julia Hamari, Ernst Haefliger, Philippe Huttenlocher, Georg Jelden, Helena Jungwirth, Siegfried Lorenz, Adalbert Kraus, Horst Laubenthal, Karl Markus, Barbara Martig-Tüller, Friedreich Melzer, Klaus Mertens, Siegmund Nimsgern, Ernst-Gerold Schramm, Verena Schweizer, Jakob Stämpfli, Ortrun Wenkel, Kurt Widmer and Edith Wiens. They recorded more than 100 Bach cantatas, broadcast by SWF once a week. Hellmann conducted the Requiem of Jean Gilles, Haydn's Harmoniemesse, the Oratorio de Noël of Saint-Saëns, Beethoven's Missa Solemnis, the four Choralkantaten of Max Reger, Frank Martin's Golgotha.
In 1974, he was appointed professor at the Musikhochschule München, where he was the director from 1981 to 1988. Among his students were Gabriel Dessauer and Pierre Even. Hellmann died in 1999 in Deisenhofen. In a memorial service in the Christuskirche, the Bachchor performed Bach's Es erhub sich ein Streit, BWV 19, because Hellmann had loved the tenor aria Bleibt, ihr Engel, bleibt bei mir!. Bach / Pergolesi: Psalm 51 Camille Saint-Saëns: Oratorio de Noël Bruckner: motets, Kodály: Laudes organi, Hedwig Bilgram, organ Mozart: Vesperae de Dominica Reger: Choralkantaten Chorales and Choruses from Bach's Christmas Oratorio Haydn: Harmoniemesse Bach: St Mark Passion Diethard Hellmann bach-cantatas.com Diethard Hellmann & Bach-Chor & Bach-Orchester Mainz / Bach Cantatas & Other Vocal Works bach-cantatas.com
The Prinzregententheater, or, as it was called in its first decades, the Prinz-Regenten-Theater, in English the Prince Regent Theatre, is a concert hall and opera house on Prinzregentenplatz in the Bavarian capital of Munich, Germany. Initiated by Ernst von Possart, the theatre was built in the Prinzregentenstrasse as a festival hall for the operas of Richard Wagner near an area where a similar project of King Ludwig II had failed some decades before. Named after Luitpold, Prince Regent of Bavaria, the building was designed by Max Littmann and opened 21 August 1901 with a production of Die Meistersinger von Nürnberg by Richard Wagner. Like the Bayreuth Festspielhaus, the auditorium was designed to Wagner’s specifications, but an amphitheater has replaced the loges. After the destruction of the Nationaltheater during World War II, the Prinzregententheater housed the Bavarian State Opera from 1944 to 1963 though it suffered damage during the war, not repaired until 1958. Since its renovation in 1988, the Prinzregententheater, with 1122 seats, has served for the Bavarian Staatsschauspiel and now houses the Bavarian Theatre Academy founded by August Everding.
Another theatre in the building, the Akademietheater or Academy Theatre, seats 300. 12 June 1917, Palestrina by Hans Pfitzner 27 March 1952, Weg zum Licht ballet by Victor Gsovsky with music by Georges Auric 22 July 1952, ballet Pas de cœur by Victor Gsovsky / Gottfried von Einem 25 February 1954, new edition of Die Bernauerin, by Carl Orff 29 March 1956, Don Juan de Manara by Henri Tomasi 11 August 1957, Die Harmonie der Welt by Paul Hindemith 16 February 1960, ballet Danza by Heinz Rosen / Werner Egk 1961, ballet La Buffonata by Heinz Rosen / Wilhelm Killmayer
Hanns-Martin Schneidt was a German conductor, harpsichordist and academic. He held teaching positions in Berlin, Hamburg and Tokyo, was Generalmusikdirektor in Wuppertal, artistic director of the Münchener Bach-Chor and the Kanagawa Philharmonic Orchestra, founded Bach ensembles in Berlin and Tokyo. Born in Kitzingen, Schneidt grew up in Leipzig in the family of a pastor, he became a member of the Thomanerchor in 1940 under Thomaskantor Günther Ramin at age 10. He studied at the Musikhochschule München from 1949 to 1952. While he studied, he began to work as the church musician at the Erlöserkirche in Munich. In 1954, he received the Richard-Strauss-Preis of Munich. In 1955, he was appointed director of the Kirchenmusikschule in Berlin, at age 25, he founded in 1961 the Bach-Chor and Bach-Collegium at the Kaiser-Wilhelm-Gedächtniskirche for regular performances of Bach cantatas, conducted the groups to 1963. He was professor at the Musikhochschule Hamburg from 1971 to 1978, he was from 1963 to 1985 Generalmusikdirektor of the Sinfonieorchester Wuppertal, including the opera.
In 1984, he became the successor of Karl Richter as artistic director of the Münchener Bach-Chor. In 1985 he was appointed professor of orchestral conducting and church music at the Musikhochschule München, he left the Münchener Bach-Chor in 2001 at age 70, but kept conducting Bach groups that he had founded in Tokyo. From 2001, he was professor at the Tokyo National University of Fine Arts and Music, artistic director of the Kanagawa Philharmonic Orchestra, based in Yokohama, from 2007 to 2009. Schneidt worked with several German symphony orchestras, such as the Berliner Philharmoniker, the Münchner Philharmoniker and the Rundfunk-Sinfonieorchester Berlin, with Chor und Orchester des Bayerischen Rundfunks, he died near Munich on 28 May 2018. Schneidt was awarded the Eduard von der Heydt Prize of Wuppertal, in recognition of his shaping of the town's musical life over many years, without routine but transparency for the musical work of art at hand, in a broad repertory, he received the Bavarian Order of Merit in 2001.
Literature by and about Hanns-Martin Schneidt in the German National Library catalogue Hanns-Martin Schneidt discography at Discogs Hanns-Martin Schneidt Bach Cantatas Website Klaus Stadler: Die Künstlerischen Leiter des Münchener Bach-Chors seit 1954 Münchener Bach-Chor 2007
Christian Gerhaher is a German baritone and bass singer in opera and concert known as a Lieder singer. Christian Gerhaher studied with Paul Kuën and Raimund Grumbach at the Hochschule für Musik und Theater München, Lied with Friedemann Berger together with his accompanist for decades to come, Gerold Huber, he took master classes with Elisabeth Schwarzkopf and Inge Borkh. He was a member of the opera in Würzburg from 1998 to 2000, performing in Thomas Hengelbrock's production of Così fan tutte, in Weber's Der Freischütz with the Cappella Coloniensis, Papageno in Achim Freyer's staging of The Magic Flute. A role that he sang as his debut at the Salzburg Festival in 2006. In 2005 he portrayed the title role of Monteverdi's L'Orfeo at the Opern- und Schauspielhaus Frankfurt where he appeared as Wolfram in Wagner's Tannhäuser in 2007. In concert he has collaborated with Helmuth Rilling, Nikolaus Harnoncourt, Neville Marriner, Philippe Herreweghe, Heinz Holliger and Trevor Pinnock, among others. Christian Gerhaher has performed and recorded Lieder with pianist Gerold Huber, such as Schubert's Winterreise, Die schöne Müllerin and Gesänge des Harfners.
His Schubert album Abendbilder with Gerold Huber won a Gramophone Award for Solo vocal in 2006. More songs with piano or chamber ensemble have included Brahms' Vier ernste Gesänge and Martin's Jedermann Monologues, Mahler's Lieder eines fahrenden Gesellen and Kindertotenlieder, he participated in the project Terezín / Theresienstadt of Anne Sofie von Otter to record songs written in the concentration camp of Terezín. Supported by her pianist Bengt Forsberg and his, Gerold Huber, Bebe Risenfors, Ib Hausmann, Philip Dukes, Josephine Knight and Daniel Hope they perform music written in the concentration camp by the artists Ilse Weber, Karel Švenk, Adolf Strauss, Martin Roman, Hans Krása, Carlo S. Taube, Viktor Ullmann and Pavel Haas. With Rilling and his Gächinger Kantorei he appeared at the 70th birthday concert in 2003 and recorded Bach's Mass in B minor and Christmas Oratorio and Britten's War Requiem, among others. In 2009, he was awarded the Rheingau Musikpreis of the Rheingau Musik Festival.
He appeared at the festival in 2010 with Gerold Huber to celebrate Gustav Mahler's 150th birthday, singing Sieben Lieder aus letzter Zeit and from Das Lied von der Erde the movements Der Einsame im Herbst and Der Abschied. In 2011 they performed the composer's Lieder eines fahrenden Gesellen, Des Knaben Wunderhorn and Kindertotenlieder. In 2010, he was awarded the Midem special prize "male vocalist", he debuted at the Covent Garden London in 2010 in Richard Wagner's opera Tannhäuser and received the Laurence Olivier Award for Outstanding Achievement in Opera for his performance as Wolfram in March 2011. Christian Gerhaher is a professor at the Hochschule für Musik und Theater München. Franz Schubert: Winterreise, piano: Gerold Huber, RCA Sony BMG, January 2001 Johannes Brahms: Vier ernste Gesänge, Franz Schubert: Gesänge des Harfners and various Lieder, Frank Martin: Sechs Monologe aus Jedermann, piano: Gerold Huber, Arte Nova, August 2002 Gustav Mahler: Kindertotenlieder, piano: Gerold Huber, Lieder eines fahrenden Gesellen, Hyperion Ensemble, Arte Nova, February 2003 Joseph Haydn: Die Schöpfung, Concentus Musicus Wien, Arnold Schoenberg Chor, Dorothea Röschmann, Michael Schade, conductor Nikolaus Harnoncourt, harmonia mundi, February 2004 Robert Schumann: Dichterliebe und gemischte Lieder, piano: Gerold Huber, RCA, October 2004 Carl Orff: Carmina Burana, Berliner Philharmoniker, conductor Simon Rattle, EMI, 2005 Felix Mendelssohn: Elias, Leipzig Gewandhaus Orchestra, conductor Herbert Blomstedt, RCA, Juli 2005 Schubert: Abendbilder, piano: Gerold Huber, RCA, January 2006 Mendelssohn: Die Heimkehr aus der Fremde, part of Kauz, Stuttgart Radio Symphony Orchestra, conductor Helmuth Rilling, hänssler classic, 2006 Haydn: Orlando paladino, part of Rodomonte, Concentus musicus, conductor Nikolaus Harnoncourt, harmonia mundi, May 2006 Wolfgang Amadeus Mozart: Die Zauberflöte, part of Papageno, Wiener Philharmoniker, conductor Riccardo Muti, Decca, 2006 Johann Sebastian Bach: Mass in B minor, Gächinger Kantorei, Bach-Collegium Stuttgart, conductor Helmuth Rilling, hänssler classic, 2007 Bach: Christmas Oratorio, Concentus Musicus Wien, Arnold Schoenberg Chor, conductor Nikolaus Harnoncourt, harmonia mundi, November 2007 Terezín / Theresienstadt, Lieder by Victor Ullmann and others, Anne Sofie von Otter, Deutsche Grammophon, 2007 Schumann: Melancholie - Liederkreis op. 39 und gemischte Lieder, piano: Gerold Huber, RCA, March 2008 Schumann: Das Paradies und die Peri, Symphonieorchester des Bayerischen Rundfunks, conductor Nikolaus Harnoncourt, RCA, March 2008 Benjamin Britten: War Requiem, Annette Dasch, James Taylor, conductor Helmuth Rilling, hänssler classic, September 2008 Mahler: Das Lied von der Erde, Orchestre symphonique de Montréal, Klaus Florian Vogt, conductor Kent Nagano, Sony Music, April 2009 Karl Amadeus Hartmann, Des Simplicius Simplicissimus Jugend, Symphonieorchester des Bayerischen Rundfunks, conductor: Ulf Schirmer, September 2009 Haydn: Die Jahreszeiten, Concentus Musicus Wien, Arnold Schoenberg Chor, conductor Nikolaus Harnoncourt, harmonia mundi, March 2009 Schumann: Szenen aus Goethes Faust, Royal Concertgebouw Orchestra, conductor Nikolaus Harnoncourt, RCO live, July 2009 Othmar Schoeck: Notturno, Rosamunde Quartett, ECM, September 2009 Mahler: Lieder, piano: Gerold Huber, Sony Music, October 2009 Literature by and about Christian Gerhaher in the German National Library catalogue Christian Gerhaher website Christian Gerhaher artist of Gasteig Muni
Ludwig II of Bavaria
Ludwig II was King of Bavaria from 1864 until his death in 1886. He is sometimes called the Swan der Märchenkönig, he held the titles of Count Palatine of the Rhine, Duke of Bavaria, Duke of Franconia, Duke in Swabia. He succeeded to the throne aged 18. Two years Bavaria and Austria fought a war against Prussia, which they lost. However, in the Franco-Prussian War of 1870 Bavaria sided with Prussia against France, after the Prussian victory it became part of the new German Empire led by Prussia. Though Bavaria retained a degree of autonomy on some matters within the new German Reich, Ludwig withdrew from day-to-day affairs of state in favour of extravagant artistic and architectural projects, he commissioned the construction of two lavish palaces and Neuschwanstein Castle, he was a devoted patron of the composer Richard Wagner. Ludwig spent all his royal revenues on these projects, borrowed extensively, defied all attempts by his ministers to restrain him; this extravagance was used against him to declare him insane, an accusation which has since come under scrutiny.
Today, his architectural and artistic legacy includes many of Bavaria's most important tourist attractions. Born at Nymphenburg Palace, he was the elder son of Maximilian II of Bavaria of the House of Wittelsbach, his wife Princess Marie of Prussia, his parents intended to name him Otto, but his grandfather, Ludwig I of Bavaria, insisted that his grandson be named after him, since their common birthday, 25 August, is the feast day of Saint Louis IX of France, patron saint of Bavaria. His younger brother, born three years was named Otto. Like many young heirs in an age when kings governed most of Europe, Ludwig was continually reminded of his royal status. King Maximilian wanted to instruct both of his sons in the burdens of royal duty from an early age. Ludwig was both indulged and controlled by his tutors and subjected to a strict regimen of study and exercise. There are some who point to these stresses of growing up in a royal family as the causes for much of his odd behavior as an adult. Ludwig was not close to either of his parents.
King Maximilian's advisers had suggested that on his daily walks he might like, at times, to be accompanied by his future successor. The King replied, "But what am I to say to him? After all, my son takes no interest in what other people tell him." Ludwig would refer to his mother as "my predecessor's consort". He was far closer to his grandfather, the deposed and notorious King Ludwig I, who came from a family of eccentrics. Ludwig's childhood years did have happy moments, he lived for much of the time at Castle Hohenschwangau, a fantasy castle his father had built near the Alpsee near Füssen. It was decorated in the Gothic Revival style with many frescoes depicting heroic German sagas; the family visited Lake Starnberg. As an adolescent, Ludwig became close friends with his aide de camp, Prince Paul, a member of Bavaria's wealthy Thurn und Taxis family; the two young men rode together, read poetry aloud, staged scenes from the Romantic operas of Richard Wagner. The friendship ended when Paul became engaged in 1866.
During his youth Ludwig initiated a lifelong friendship with his cousin, Duchess Elisabeth in Bavaria Empress of Austria. Crown Prince Ludwig was in his 19th year when his father died after a three-day illness, he ascended the Bavarian throne. Although he was not prepared for high office, his youth and brooding good looks made him popular in Bavaria and elsewhere, he retained his ministers. His real interests were in art and architecture. One of the first acts of his reign, a few months after his accession, was to summon Wagner to his court. In 1864, he laid the foundation stone of a new Court Theatre, now the Staatstheater am Gärtnerplatz. Ludwig was notably eccentric in ways, he disliked large public functions and avoided formal social events whenever possible, preferring a life of seclusion that he pursued with various creative projects. He last inspected a military parade on 22 August 1875 and last gave a Court banquet on 10 February 1876, his mother had foreseen difficulties for Ludwig when she recorded her concern for her introverted and creative son who spent much time day-dreaming.
These idiosyncrasies, combined with the fact that Ludwig avoided Munich and participating in the government there at all costs, caused considerable tension with the king's government ministers, but did not cost him popularity among the citizens of Bavaria. The king enjoyed traveling in the Bavarian countryside and chatting with farmers and labourers he met along the way, he delighted in rewarding those who were hospitable to him during his travels with lavish gifts. He is still remembered in Bavaria as "Unser Kini". Relations with Prussia took center stage from 1866. In the Austro-Prussian War, which began in July, Ludwig supported Austria against Prussia. Austria and Bavaria were defeated, Bavaria was forced to sign a mutual defense treaty with Prussia; when the Franco-Prussian War broke out in 1870, Bavaria was required to fight alongside Prussia. After the Prussian victory over France, Bismarck moved to complete the Unification of Germany. In November 1870, Bavaria joined the North German Confederation and thus lost its status as an independent kingdom.
However, the Bavarian delegation under Minister-President Count Otto v
Music is an art form and cultural activity whose medium is sound organized in time. General definitions of music include common elements such as pitch, rhythm and the sonic qualities of timbre and texture. Different styles or types of music may de-emphasize or omit some of these elements. Music is performed with a vast range of instruments and vocal techniques ranging from singing to rapping; the word derives from Greek μουσική. See glossary of musical terminology. In its most general form, the activities describing music as an art form or cultural activity include the creation of works of music, the criticism of music, the study of the history of music, the aesthetic examination of music. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, for example, "There is no noise, only sound."The creation, performance and the definition of music vary according to culture and social context.
Indeed, throughout history, some new forms or styles of music have been criticized as "not being music", including Beethoven's Grosse Fuge string quartet in 1825, early jazz in the beginning of the 1900s and hardcore punk in the 1980s. There are many types of music, including popular music, traditional music, art music, music written for religious ceremonies and work songs such as chanteys. Music ranges from organized compositions–such as Classical music symphonies from the 1700s and 1800s, through to spontaneously played improvisational music such as jazz, avant-garde styles of chance-based contemporary music from the 20th and 21st centuries. Music can be divided into genres and genres can be further divided into subgenres, although the dividing lines and relationships between music genres are subtle, sometimes open to personal interpretation, controversial. For example, it can be hard to draw the line between heavy metal. Within the arts, music may be classified as a fine art or as an auditory art.
Music may be played or sung and heard live at a rock concert or orchestra performance, heard live as part of a dramatic work, or it may be recorded and listened to on a radio, MP3 player, CD player, smartphone or as film score or TV show. In many cultures, music is an important part of people's way of life, as it plays a key role in religious rituals, rite of passage ceremonies, social activities and cultural activities ranging from amateur karaoke singing to playing in an amateur funk band or singing in a community choir. People may make music as a hobby, like a teen playing cello in a youth orchestra, or work as a professional musician or singer; the music industry includes the individuals who create new songs and musical pieces, individuals who perform music, individuals who record music, individuals who organize concert tours, individuals who sell recordings, sheet music, scores to customers. The word derives from Greek μουσική. In Greek mythology, the nine Muses were the goddesses who inspired literature and the arts and who were the source of the knowledge embodied in the poetry, song-lyrics, myths in the Greek culture.
According to the Online Etymological Dictionary, the term "music" is derived from "mid-13c. Musike, from Old French musique and directly from Latin musica "the art of music," including poetry." This is derived from the "... Greek mousike " of the Muses," from fem. of mousikos "pertaining to the Muses," from Mousa "Muse". Modern spelling from 1630s. In classical Greece, any art in which the Muses presided, but music and lyric poetry." Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. When music was only available through sheet music scores, such as during the Classical and Romantic eras, music lovers would buy the sheet music of their favourite pieces and songs so that they could perform them at home on the piano. With the advent of sound recording, records of popular songs, rather than sheet music became the dominant way that music lovers would enjoy their favourite songs. With the advent of home tape recorders in the 1980s and digital music in the 1990s, music lovers could make tapes or playlists of their favourite songs and take them with them on a portable cassette player or MP3 player.
Some music lovers create mix tapes of their favorite songs, which serve as a "self-portrait, a gesture of friendship, prescription for an ideal party... an environment consisting of what is most ardently loved."Amateur musicians can compose or perf
Ricardo Jesús Gallén García, is a Spanish classical guitarist, active since the mid-1990s. He is a Professor of Guitar at the Hochschule für Musik Franz Liszt, Germany. Gallén was born in Linares, Jaén, Spain in 1972, he started performing in public just a year later. At the age of ten he entered the Conservatory of Music in Cordoba, receiving his first formal music education by the Conservatory's director and founder Tomás Villajos Soler, he continued his studies at the Conservatories of Jaén, Cordoba and Granada, studying under Professors Victor Valls, Miguel Barbero, Demetrio Ballesteros and Carmelo Martinez and at the same time he attended a number of master classes both in Spain and abroad. He studied guitar and ancient music at the Universities of Mozarteum University of Salzburg and Hochschule für Musik und Theater München, with the Masters Eliot Fisk, Christoph Eglhuber, Jürgen Hübscher and Joaquin Clerch. In 1999 he completed the Meisterklassendiplom in the Hochschule für Musik und Theater München, under Joaquin Clerch.
During the years 2001 -- 2006 he worked as a Professor in Spain. He became an Assistant Professor in the class of Eliot Fisk in the Mozarteum University of Salzburg, he served as a Professor at the University of Extremadura and was a Guest Professor in the Conservatories, Superior de Música en Palma de Mallorca and, Superior de Música de Aragón, Zaragoza, in Spain, during the years 2011–2013. Since 2009, Ricardo Gallén is a Professor in the Hochschule für Musik "Franz Liszt", Germany. Gallén has given numerous recitals all over the world, in solo performances, duets, or with orchestras, under the direction of well known conductors, such as Maximiano Valdes, En Shao, Juan Jose Mena, Monica Huggett, Leo Brouwer, Jordi Savall and Seirgiu Comisiona, in more than 30 countries throughout Europe and America, including Mexico, Argentina, Cuba, USA, Costa Rica, Australia, New Zealand, Norway, Finland, Jordan and Israel, in important concert halls like the Royal Concertgebouw in Amsterdam, National National Auditorium of Music, in Madrid, L'Auditori and Palau de la Música Catalana in Barcelona, Shostakovich Hall in Saint Petersburg and Tchaikovsky Hall in Moscow.
Gallén has been a member of the jury in several International Guitar Competitions and has given a number of master classes in several countries including Austria, Poland, Israel, USA, Lebanon, Mexico, Russia, France, Romania, Finland, Australia, New Zealand. His first album, was one of Naxos Records best-selling albums in 2001 and received sensational reviews in the specialized press, it was followed by five more albums published by Naxos, in which he performs music by Mauro Giuliani, Leo Brouwer, Toru Takemitsu, etc. as well as all of the concerts for guitar and orchestra by the Spanish Maestro Joaquin Rodrigo. In 2013 his double CD with the Bach Complete Lute Suites was released with Sunnyside Records and in May 2014 his last CD, Fernando Sor - Guitar Sonatas was released, by Eudora Records, he has recorded for Radio and Television in various countries including Spain, Belgium, Germany, Mexico, South Korea and Bulgaria. Ricardo Gallén plays a classical guitar by Paco Santiago Marín and a romantic guitar by Arnoldo García with Savarez Alliance Strings.
Gallén has participated in over twenty international guitar competitions, having won five first prize awards including: the 32nd Markneukirchen International Instrumental Competition, the 14th Andrés Segovia International Classical Guitar Competition, where he got a Special Prize, the Fourth Alhambra International Guitar Competition, the 33rd Francisco Tarrega International Guitar Contest, where he got the Special Audience Prize and the 11th International Guitar Competition, where he got five special prizes. Sor: Guitar Sonatas Bach: Complete Lute Works Tales · Diego Barber Giuliani: Variations Guitar Recital: Ricardo Gallen Regondi: Airs Varies / Reverie, Op. 19 / Mertz: Bardenklange, Op. 13 Rodrigo: Concierto de Aranjuez / Concierto Andaluz Rodrigo Concierto Madrigal / Concierto para una Fiesta Rodrigo: Joaquin Rodrigo – A Portrait Adagio Chillout Classical Chillout – The Essential Collection Steven Rings · American Record Guide, August 2001"Gallen's playing is impressive and his interpretations sure-footed, evidence of a compelling new musical voice on the guitar scene."
Allan Clive Jones · Classical Guitar Magazine, December 2002"Ricardo Gallén, an excellent musician, plays all this music idiomatically, as though it posed no difficulties for him." Anthony Holden · The Observer, March 2003"Soloist Ricardo Gallen is outstanding on both, joined in the second by Joaquin Clerch for the quirky 10-movement piece ranging in mood from the pastoral to the passionate. As with Russians, it takes Spaniards to play Spanish music properly, the Asturias Symphony rises eloquently to the task, filling the most urban sitting-room with those sweeping Spanish vistas." EarlyRomanticGuitar.com"Ricardo's playing is expertly crafted, with many subtleties of ornamentation and phrasing that will impress the accomplished musician." Classical CD Reviews · July, 2002 · MusicWeb · Classical Editor: Rob Barnett · Founder Len Mullenger"After his impressive first recording for Naxos, which consisted of 20th century works, namely those of Leo Brouwer and Toru Takemitsu, Ricardo Gallén proves