ARTISTIC
COLLABORATION



Dimitri Ashkenazy, clarinet

Maria Jose Montiel, mezzo

Javier Perianes, piano

Alois Schmidenauer, composer

Alyssa Park, violin
& Lyris Quartet

Leonhard Leeb, composer

Mario Hossen, violin

Franko Bozac, bayan
& Duo Mascagni

International Summer
Music Academy Orpheus

Bashkim Shehu, composer

Camerata Philadelphia

* * * *

SPECIAL ASSOCIATION

Spanische Musikwoche Wien

Oregon Music Festival

European Viola Association

Österreichische Symphoniker

International Music Center
of America

 

 

© Bergmann Tusch 2005-2013

 

REVIEWS

From the Press [excerpts]

Oesterreichische Philharmonie Summer Series

Walzer Philharmonie tour to China

Hacko conducts Kuljeric's US premiere

Success at Revelin

Belgrade debut of Maestro Zvonimir Hacko

Passion-Heritage Concert - Hacko

Masterful sounds of classical guitar

Sharon Isbin thrills Zagreb audience

Passionska bastina Concert

Sacramento Symphony Shines

Variety spices up Sacramento Chamber
Orchestra evening


English horn soloist creates pure beauty

A peaceful Requiem pairs with
powerful Shostakovich


Baroque concert is radiant, joyful

Winter Festival classic in every sense

Jesus' final hours told with gusto in 'Passio'

Philharmonic presents a heroic study in contrasts

Concert plucks listener's heart strings

Watts brings out the best in Rachmaninov


Geography buoyed by emotion - Audience thrills

Symphony Orchestra off to promising start

The Measure of Mendelssohn

Alex Klein, Strauss Oboe Concerto

Bach draws crowd, inspires artists

Chamber orchestra's exciting program wins hearts

Chamber Orchestra offers spirited concert

Soloist's animated performance helps bring...

Quiet beauty springs from deep sorrow

Camellia Symphony, Kodaly's Te Deum

A perfect setting for an inspired chamber concert

Musical debut rich in promise

 

__________

Top

Conducted admirably by Zvonimir Hacko. . . the ensemble . . . gave an impressively dramatic performance. Part's music is spare, at times unbearable, and therefore an appropriate treatment of the subject of persecution and crucifixion. Its dissonance comes from his chord clusters, seesawing melodies with broad dizzying intervals and crisscrossing harmonies. These elements were approached intelligently and painstakingly by the conductor, ensemble and soloists.
Sacramento Bee