Tag Archives: Richard Wagner

“Freedom” ranks highly on Billboard’s classical charts

Mimi Stillman’s new CD “Freedom” (Innova Recordings) with premiere recordings by Richard Danielpour, David Finko, and Mieczyslaw Weinberg, ranked highly on Billboard‘s classical charts!  In this recording of music for the triumph of artistic freedom and the human spirit, Mimi is joined by longtime duo pianist Charles Abramovic, and in the Danielpour, cellist Yumi Kendall.

Visit album page at Innova here. Purchase at Amazon here or iTunes here.

Here are some early media coverage and rave reviews for “Freedom”:

Tablet Magazine’s Vox podcast. Listen to Mimi talk about “Freedom”:
“Stillman’s great technical ability and use of color creates a powerful experience for the listener… the duo of Stillman and Abramovic has been working together for 14 years and their sensitive, passionate playing plumbs the depths of sorrow and inspiration.” 
Jonathan S. Tobin, The New York Sun
“Gravitas for flute. . .likely to expand the flute repertoire with works that defy the stereotypical emotional limitations of wind instruments.”
– David Patrick Stearns, The Philadelphia Inquirer
“Mimi Stillman brings tremendous brilliance, authority, as well as nuance to her playing. Accolades go to her stellar collaborators too: pianist Charles Abramovic, whose partnership with Stillman makes for a hand-in-glove match.”
Shulamit Ran, Pulitzer Prize-winning composer
“An invaluable disc, beautifully played and beautifully recorded”
Steven Stucky, Pulitzer Prize-winning composer
“Not only do they [Stillman and Abramovic] find just the right rhythmic balance, but even their tones interact in a lovely way, with Stillman’s always fresh, tightly focused sound finding a welcome embrace in Abramovic’s multi-hued tonality.”
Peter Burwasser, Broad Street Review
Stillman1.Freedom CD cover Innova Recordings

Syrinx Journey Day 269: “Syrinx,” “Pelléas et Mélisande,” and “Parsifal”

For Richard Wagner’s birthday on May 22, I played motifs from his Parsifal and Debussy’s Pelléas et Mélisande, to highlight the important, complicated relationship Debussy had with the German composer. The young Debussy, like many of his French counterparts, visited Bayreuth to hear Wagner’s operas. He later vehemently criticized Wagner’s music, as part of an anti-German position he voiced in the years before and during World War I, urging French composers to reject the German influence he deemed harmfully pervasive in French music. The influence of Wagner on Debussy’s music however is palpable; the opening forest scene of Parsifal has often been heard as a sonic forebear for the opening of Pelléas, also set in a forest.