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Dieppa: Clasico Caribe California Colombia- Musical Artist: News|FOSC|ES

Encores II: Late Night, Roberto McCausland Dieppa, Piano - February 26, 2016

 

Late Night: Encores II Roberto McCausland Dieppa,Pianist A Deep Late Night Evening Epicurean Voyage in International Piano Magazine 

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Face Book Artist Page - January 19, 2016

Pasion Otoñal: Beethoven Tres Grandes Sonatas, World Wide Home Run ESP - June 6, 2015

BEETHOVEN: Piano Sonatas Nos. 23, "Appassionata"; 8, "Patética"; 14, "Claro de luna"; 26, "Das Lebewohl"  Roberto McCausland Dieppa (pn)  desaliñado REGISTROS 020567658 (68:31)

A pesar del diseño del álbum, que parece haber sido confiada a un adolescente fanático de Arctic Monkeys, esta es una versión seria y significativa por un artista serio y significativo, la realización de la música seria y significativa, y está lejos de ser lo que se describe a menudo despectivamente como un tocador de  vandad.Roberto McCausland Dieppa es un colombiano nacido el pianista, compositor y director de orquesta con un Doctorado en Música en los estudios de Liszt y créditos de la Eastman School of Music. En reconocimiento a su especial atención a Liszt y Bartók, Dieppa fue galardonado con el Premio Pro-Arte por el Ministerio de Cultura de Hungría.Extensa gira ha tomado Dieppa a Europa, América Latina, Japón, la India, el Reino Unido, Australia, Europa del Este, y los EE.UU., donde jugó para una casa llena en el Carnegie Hall, el primer pianista colombiano para hacerlo con éxito. Su repertorio de piano y grabaciones incluyen la música de Mozart, Beethoven, Chopin, Liszt, Debussy, Ravel, Bartók y Mompou, así como compositores contemporáneos latinoamericanos y españoles.La pregunta inmediata que viene a la mente acerca de esta versión es si hay realmente una necesidad o un lugar para otra versión de "tres grandes" sonatas para piano de Beethoven, cada uno de los cuales tiene al menos 300 grabaciones. La respuesta es un rotundo sí, cuando se interpretan como están aquí por Roberto McCausland Dieppa, porque él nos da algunas de las mejores lecturas, más interesantes de estas puntuaciones que he escuchado.

  ...'el pianista demuestra firme comando de los varios retos de las sonatas'...

  Gramophone, Nov. 2014   Rosenberg

Todo Dieppa hace es con moderación. Tempos en movimientos rápidos no son lentos, pero no están apresuraron o empujados. A diferencia de Fazil Say, Dieppa no está en una misión kamikaze, para demostrar su valentía. En todo caso, él es un poco en el lado modesto, resistiendo la tentación de hacer la música de él en lugar de sobre Beethoven. El resultado es actuaciones de la claridad, la transparencia, y la revelación de detalles afortunadas que permiten a las notas hablen por sí mismos. Por ejemplo, escuchar cómo meticulosamente Dieppa observa el ritardando Poco marcado en la barra 12 de la "Appassionata" Sonata (sin contar el cuarto de un bar optimista al comienzo). Beethoven luego suministra su propia floreo dramático en el Tempo un bar después. No hay necesidad de exageración; que está construido en la partitura.Este es sólo uno de los innumerables puntos en los que el enfoque respetuoso de Dieppa a estas obras da una perspectiva refers ante sobre la visión de Beethoven,  limpio de las acumulaciones de interpretación de 200 años de prácticas de desempeño. Beethoven Dieppa viene lo más cercano a Echt Beethoven, ya que creo que he oído. Sobra decir que se observan todas las repeticiones.Por otra parte, hay fluidez al toque de Dieppa y una percepción de mayor tamaño, de largo alcance patrones rítmicos que van más allá de una sola barra o frase, que contribuyen a un sentido de inevitabilidad en el desarrollo del organismo musical. De todo, debo mencionar el tono precioso Dieppa saca de su gran Baldwin, que estaba muy bien grabado en un lugar no revelado por el álbum pobremente documentada nota y créditos.Aunque yo personalmente recibí un CD físico para su revisión, a partir de este escrito a finales de septiembre de 2014, sólo he sido capaz de encontrar este comunicado está disponible en forma de descarga en Amazon, CDBaby, y Rhapsody. Sin embargo, se me ha informado, antes de ir-a-prensa, que por el momento de leer esto el CD estará disponible en ArkivMusic. En cualquier forma que lo encuentras, Beethoven Dieppa es una experiencia que no debe perderse. Jerry Dubins

http://www.fanfarearchive.com/indices/itop/performers/diepparobertomccausland.html
                                                                 

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Journal - June 6, 2015

Beethoven in Time

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Sinfonica del Caribe

Orquestral Sounds

Sponsor Evening

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Beethoven's Friends

How We Learn Music

Gabriel Garcia Marquez and Bela Bartok

The King of the Carnival

Orquestral Cycle - Beethoven

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Poetry in Music

Andean Eagle

Enchanting Evening

A New Year: Waltz, Champaign and Home

The Mandarin Magician

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Liszt: Music, Rhythm, Dance and Language

Classical Soccer World Cup Artists

Lovers and Warriors

Sweet and Beautiful Music

Lou Andreas Salome: Feminine  Artistic Seduction

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Autumn Passion: Beethoven Three Great Sonatas, World Wide Home Run - May 6, 2015

 

 

BEETHOVEN Piano Sonatas: No. 23, “Appassionata;” No. 8, “Pathétique;” No. 14, “Moonlight;” No. 26, “Les Adieux”: Andante and Finale • Roberto McCausland Dieppa Buy Autumn Passion: Beethoven Retrospective, Three Great Sonatas One Encore From Amazon Autumn Passion: Beethoven Retrospective, Three Great Sonatas One Encore Despite the album design, which appears to have been entrusted to an adolescent Arctic Monkeys fan,

 BEETHOVEN  Piano Sonatas: No. 23, “Appassionata;” No. 8, “Pathétique;” No. 14, “Moonlight;” No. 26, “Les Adieux”: Andante and Finale • Roberto McCausland Dieppa 

Autumn Passion: Beethoven Retrospective, Three Great Sonatas One Encore
MP3 Music

Despite the album design, which appears to have been entrusted to an adolescent Arctic Monkeys fan, this is a serious and significant release by a serious and significant artist, performing serious and significant music, and it’s far from being what’s often described deprecatingly as a vanity release. 

Roberto McCausland Dieppa is a Colombian-born pianist, composer, and conductor with a Doctorate of Music in Liszt studies and credits from the Eastman School of Music. In recognition of his special attention to Liszt and Bartók, Dieppa was awarded the Pro-Arte Prize by the Ministry of Culture of Hungary. 

Extensive touring has taken Dieppa to Europe, Latin America, Japan, India, the UK, Australia, Eastern Europe, and the U.S., where he played for a full house at Carnegie Hall, the first Colombian pianist to do so successfully. His piano repertoire and recordings include music of Mozart, Beethoven, Chopin, Liszt, Debussy, Ravel, Bartók, and Mompou, as well as Latin-American and Spanish contemporary composers. 

The immediate question that comes to mind about this release is whether there’s really a need or a place for another version of Beethoven’s “big three” piano sonatas, each of which has at least 300 recordings. The answer is a resounding yes, when they’re played as they are here by Roberto McCausland Dieppa, for he gives us some of the finest, most insightful readings of these scores I’ve heard. 

Everything Dieppa does is in moderation. Tempos in fast movements are not slow, but they’re not rushed or pushed. Unlike Fazil Say, Dieppa is not on a kamikaze mission to prove his bravery. If anything, he is a bit on the self-effacing side, resisting the temptation to make the music about him instead of about Beethoven. The result is performances of clarity, transparency, and revelation of felicitous details that allow the notes to speak for themselves.For example, listen to how meticulously Dieppa observes the  poco ritardando marking in bar 12 of the “Appassionata” Sonata (not counting the quarter of a bar upbeat at the beginning). Beethoven then supplies his own dramatic flourish at the a tempo a bar later. There’s no need for exaggeration; it’s built into the score. 

This is just one of countless points at which Dieppa’s respectful approach to these works yields a refreshing perspective on Beethoven’s vision, one cleansed of the interpretive accretions of 200 years of performance practices. Dieppa’s Beethoven comes about as close to echt Beethoven as I think I’ve heard. Needless to say, all repeats are observed. 

Moreover, there’s fluidity to Dieppa’s touch and an apperception of larger, long-range rhythmic patterns that go beyond a single bar or phrase, which contribute to a sense of inevitability in the unfolding of the musical organism. Too, I should mention the gorgeous tone Dieppa draws from his Baldwin grand, which was beautifully recorded at a location undisclosed by the poorly documented album note and credits. 

Though I personally received a physical CD for review, as of this writing in late September 2014, I’ve only been able to find this release available in download form at Amazon, CDBaby, and Rhapsody. However, I have been informed, pre-going-to-press, that by the time you read this the CD will be available at ArkivMusic. In whatever form you find it, Dieppa’s Beethoven is an experience not to be missed. Jerry Dubins 

 In recognition of his special attention to Liszt and Bartók, Dieppa was awarded the Pro-Arte Prize by the Ministry of Culture of Hungary. Extensive touring has taken Dieppa to Europe, Latin America, Japan, India, the UK, Australia, Eastern Europe, and the U.S., where he played for a full house at Carnegie Hall, the first Colombian pianist to do so successfully. His piano repertoire and recordings include music of Mozart, Beethoven, Chopin, Liszt, Debussy, Ravel, Bartók, and Mompou, as well as Latin-American and Spanish contemporary composers. The immediate question that comes to mind about this release is whether there’s really a need or a place for another version of Beethoven’s “big three” piano sonatas, each of which has at least 300 recordings. The answer is a resounding yes, when they’re played as they are here by Roberto McCausland Dieppa, for he gives us some of the finest, most insightful readings of these scores I’ve heard. Everything Dieppa does is in moderation. Tempos in fast movements are not slow, but they’re not rushed or pushed. Unlike Fazil Say, Dieppa is not on a kamikaze mission to prove his bravery. If anything, he is a bit on the self-effacing side, resisting the temptation to make the music about him instead of about Beethoven. The result is performances of clarity, transparency, and revelation of felicitous details that allow the notes to speak for themselves.For example, listen to how meticulously Dieppa observes the poco ritardando marking in bar 12 of the “Appassionata” Sonata (not counting the quarter of a bar upbeat at the beginning). Beethoven then supplies his own dramatic flourish at the a tempo a bar later. There’s no need for exaggeration; it’s built into the score. This is just one of countless points at which Dieppa’s respectful approach to these works yields a refreshing perspective on Beethoven’s vision, one cleansed of the interpretive accretions of 200 years of performance practices. Dieppa’s Beethoven comes about as close to echt Beethoven as I think I’ve heard. Needless to say, all repeats are observed. Moreover, there’s fluidity to Dieppa’s touch and an apperception of larger, long-range rhythmic patterns that go beyond a single bar or phrase, which contribute to a sense of inevitability in the unfolding of the musical organism. Too, I should mention the gorgeous tone Dieppa draws from his Baldwin grand, which was beautifully recorded at a location undisclosed by the poorly documented album note and credits. Though I personally received a physical CD for review, as of this writing in late September 2014, I’ve only been able to find this release available in download form at Amazon, CDBaby, and Rhapsody. However, I have been informed, pre-going-to-press, that by the time you read this the CD will be available at ArkivMusic. In whatever form you find it, Dieppa’s Beethoven is an experience not to be missed. Jerry Dubins

 BEETHOVEN  Piano Sonatas: No. 23, “Appassionata;” No. 8, “Pathétique;” No. 14, “Moonlight;” No. 26, “Les Adieux”: Andante and Finale • Roberto McCausland Dieppa 

Roberto McCausland Dieppa is a Colombian-born pianist, composer, and conductor with a Doctorate of Music in Liszt studies and credits from the Eastman School of Music. In recognition of his special attention to Liszt and Bartók, Dieppa was awarded the Pro-Arte Prize by the Ministry of Culture of Hungary. Despite the album design, which appears to have been entrusted to an adolescent Arctic Monkeys fan, this is a serious and significant release by a serious and significant artist, performing serious and significant music, and it’s far from being what’s often described deprecatingly as a vanity release. 

Extensive touring has taken Dieppa to Europe, Latin America, Japan, India, the UK, Australia, Eastern Europe, and the U.S., where he played for a full house at Carnegie Hall, the first Colombian pianist to do so successfully. His piano repertoire and recordings include music of Mozart, Beethoven, Chopin, Liszt, Debussy, Ravel, Bartók, and Mompou, as well as Latin-American and Spanish contemporary composers. 

The immediate question that comes to mind about this release is whether there’s really a need or a place for another version of Beethoven’s “big three” piano sonatas, each of which has at least 300 recordings. The answer is a resounding yes, when they’re played as they are here by Roberto McCausland Dieppa, for he gives us some of the finest, most insightful readings of these scores I’ve heard. 

Everything Dieppa does is in moderation. Tempos in fast movements are not slow, but they’re not rushed or pushed. Unlike Fazil Say, Dieppa is not on a kamikaze mission to prove his bravery. If anything, he is a bit on the self-effacing side, resisting the temptation to make the music about him instead of about Beethoven. The result is performances of clarity, transparency, and revelation of felicitous details that allow the notes to speak for themselves.For example, listen to how meticulously Dieppa observes the  poco ritardando marking in bar 12 of the “Appassionata” Sonata (not counting the quarter of a bar upbeat at the beginning). Beethoven then supplies his own dramatic flourish at the a tempo a bar later. There’s no need for exaggeration; it’s built into the score. 

This is just one of countless points at which Dieppa’s respectful approach to these works yields a refreshing perspective on Beethoven’s vision, one cleansed of the interpretive accretions of 200 years of performance practices. Dieppa’s Beethoven comes about as close to echt Beethoven as I think I’ve heard. Needless to say, all repeats are observed. 

Moreover, there’s fluidity to Dieppa’s touch and an apperception of larger, long-range rhythmic patterns that go beyond a single bar or phrase, which contribute to a sense of inevitability in the unfolding of the musical organism. Too, I should mention the gorgeous tone Dieppa draws from his Baldwin grand, which was beautifully recorded at a location undisclosed by the poorly documented album note and credits. 

Though I personally received a physical CD for review, as of this writing in late September 2014, I’ve only been able to find this release available in download form at Amazon, CDBaby, and Rhapsody. However, I have been informed, pre-going-to-press, that by the time you read this the CD will be available at ArkivMusic. In whatever form you find it, Dieppa’s Beethoven is an experience not to be missed. Jerry Dubins

GSLMadisonAveNYC

http://www.fanfarearchive.com/indices/itop/performers/diepparobertomccausland.html

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Since 2006 - May 2, 2006

FOR IMMEDIATE RELEASE: KOCH RECORDS   now Entertainment One RELEASED BEETHOVEN FOR KIDS ON MAY 23RD, 2006 May 1, 2006 — New York, NY — KOCH Records the released of a brand new childrens€™s compilation, Beethoven for Kids,  on May 23rd, 2006. Beethoven for Kids is a compilation of Beethoven’s best known, listened to and performed pieces for piano. Beethoven is the most famous and popular of all 19th-century composers, possibly of all time; his symphonies, piano concertos, string quartets, and piano sonatas are heard regularly on concert programs everywhere. On Beethoven for Kids, children learn these timeless pieces as part of their music and general education, creating a lifelong love of music. The pieces are performed on the piano, the instrument for which they were intended, in a child-friendly style. From the Sonatina in g to Für Elise and on to Moonlight Sonata, this compilation is for the enjoyment and listening pleasure of the expecting mom, the inquisitive child, the young adult and the excited grandparents. Beethoven’s pieces are performed on this collection by Roberto McCausland – Dieppa on piano.   With an intense musical sensitivity, Roberto McCausland-Dieppa is a Columbian born pianist of exceptional talent, as a Soloist and collaborative pianist, he has performed under the batons of conductors such as Jamie Leon, Eduardo Mata, among others. McCausland-Dieppa has toured extensively across the globe. Drawing music lovers from all over the world, Dieppa has played to a full house at New York’s Carnegie Hall.

                                                                      

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