JOEY CALDERAZZO

PETRONEL MALAN

ALEXANDER PALEY

CLEMENS UNTERREINER

OVIDIO DE FERRARI

MIKHAIL PLETNEV

 

Fourth Prize of the X International Young Pianists Competition “Città di Marsala” 1994, Italy. First Prize of the “National Frederic Chopin Piano Competition”, La Havana 1997 and First Prize of the “UNEAC Piano Competition”, La Havana 1999.

In 2000 he won the Second Prize and the Prize for the Best Performance of Cuban Music of the First International Ignacio Cervantes Piano Competition. In 2003, he wins the Second Prize and the Audience Prize of the “International Frechilla-Zuloaga Piano Competition” Valladolid, Spain. Since 2002 he has become Official Soloist of the Philharmonic Orchestra of Havana.

He has performed under the conducting of Leo BROWER, Guido LOPEZ-GAVILAN, Ivan DEL PRADO, Helena HERRERA, Rafael MONTES and Alejandro POSADA. He has also performed several recitals in Cuba, Chile, Spain, France and Germany.

In September 2004 Gabriel Urgell Reyes is admitted by the unanimous vote of the Jury in the “Cycle de Perfectionnement” of the « Conservatoire National Supérieur de Musique et Danse de Paris » as a pupil of the pianist Hervé BILLAUT. Due to this admission the Prize of the « Alfred Reinhold Foundation » 2004 was awarded to him.

Historical Composers & Artists

"After my coffee and cigar we went to one of the recording rooms where they had a Blüthner piano Well, this Blüthner had the most beautiful singing tone I had ever found. I became quite enthusiastic and decided to play my beloved Barcarolle of Chopin. The piano inspired me. I don’t think I ever played better in my life.“

Arthur Rubinstein 

„My Many Years“ (page 281)

 

„In das Exil nach Amerika begleiteten mich nur zwei Wesen von Bedeutung: meine Frau Natalja und mein kostbarer Blüthner.“

“There are only two important things which I took with me on my way to America. My wife Natalia and my precious Blüthner.”

Sergei Rachmaninoff

 

 “Almost in the middle of the room, the black Blüthner grand stood, free of music, book or photographs. Debussy was proud of his grand piano, and before I played he showed me a new device invented by Blüthner: an extra string set on top of the others. Although not touched by the hammers, it caught the overtones, thus increasing the vibrations and enriching the sonority. This was a piano he had rented during a stay in Bournemouth, and liked so well that he had bought it and had it shipped to Paris.” “He played a number of passages and the tone he extracted from the Blüthner was the loveliest, the most elusive and ethereal I have ever heard”. 

letter from Maurice Dumesnil, friend

Claude Debussy

Debussy's Blüthner at the Musée Labenche