Artists Who Resided at the Braender
Apt # 79 - 1980's Ram Oren 🎺 Trumpeter
Arutjunjan Trumpet Concerto
Ram Oren Solo Trumpet
Jerusalem Symphony Orchestra Conducted by Aharon Charlap
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RAM OREN
Associate Principal Trumpet with the Israel Philharmonic Orchestra since 1991.
Professor at the Buchman Mehta Music School of the Tel Aviv University and at the Tel Aviv Conservatory.
Presenter and lecturer of the IPO exclusive kids educational program Key Note.
Ram Oren has been associate Principal Trumpet with the Israel Philharmonic Orchestra since 1991.
Previously he was Principal Trumpet with the Israeli Opera orchestra and Principal with the Jerusalem Symphony, with which he recorded the Arutjunjan Trumpet Concerto.
He is a teacher at the Buchman Mehta Music School of the Tel Aviv University and at the Tel Aviv Conservatory and serves as a presenter and lecturer of the IPO exclusive kids educational program Key Note.
NERUDA TRUMPET CONCERTO IN E FLAT 1ST MOV Teacher: Oren Ram Composer: NERUDA Masterclass description
Beautiful movement from the Czech composer. The movement is not too long and it's not too difficult, so our teacher uses it to focus on Meter all along the masterclass, with special topics about Syncopation in Tutorial A and Trills in Tutorial B. Professor: Ram Oren Student: Arik Amitay
An important trumpet lesson, which brings you back to the principles of playing, like the habits in pressing the keys, determine the metronomic tempo for every note and many more precious pieces of advice. Professor: Ram Oren. Student: Baruch Harlap
Ram Oren has been Associate Principal Trumpet with the Israel Philharmonic Orchestra since 1991. Previously he was Principal trumpet with the Israeli Opera orchestra and Principal with the Jerusalem Symphony, with which he recorded the Arutjunjan Trumpet Concerto.
Ram was soloist with the Israel Philharmonic Orchestra, the Jerusalem Symphony and the Jerusalem Camerata Chamber Orchestra among others, appearing in Israel as well as in Switzerland, France, Germany, Russia (Moscow), USA, Canada and Armenia.
In 1988 he joined the “Moscow Virtuosi” Chamber Orchestra and conductor Vladimir Spivakov on their first concert tour to Israel, playing Shostakovich Piano and Trumpet Concerto with pianist Evgeny Kissin. Later he appeared as soloist with the “Moscow Soloists” conducted by Yuri Bashmet, on their first visit to Israel.
Ram Oren is a graduate of Indiana University School of Music. He later studied with Philip Smith of the New York Philharmonic, Arnold Jacobs of the Chicago Symphony and Vincent Chicowitz.
He teaches at the Buchman-Mehta School of Music at the Tel Aviv University and at the Tel Aviv Conservatory and serves as presenter and lecturer of the IPO exclusive children’s educational program “KeyNote”.
In 2002 he was invited as guest professor to Manitoba University School of Music in Winnipeg, Canada, where he taught trumpet, chamber and orchestral music and master classes across Canada.
Ram is a member of the IPO brass ensembles – quartet, quintet and brass octet and performs recitals and chamber music concerts for trumpet with strings as well as master classes in Israel and abroad.
Trumpet player of the Israel Philharmonic Orchestra הקדיש החסידי מבצע רמי אורן נגן החצוצרה הראשי של התזמורת הפילהרמונית הישראלית
🎺Note:Rami is not very happy with his performance - he had only one day notice to prepare to play this piece.
From the concert of the Chazanut Soul Lecha of Yuval The Israeli Ensemble for Cantorial and Jewish Music. Was held at the renewed Mann Auditorium in Tel Aviv 10.6.14 With the Israel Philharmonic Orchestra, and the Choir Choir Yuval. Music director and conductor Dr. Mordechai Sobol Artistic production and processing Ofir Sobol Amplification Moshe Bachar - Documentation of Jacob Felberbaum מתוך קונצרט חזנות הנשמה לך של יובל האנסמבל הישראלי לחזנות ומוסיקה יהודי. התקיים בהיכל התרבות המחודש בתל אביב 10.6.14 עם התזמורת הפילהרמונית הישראלית, ומקהלת החזנים "יובל". מנהל מוסיקלי ומנצח ד"ר מרדכי סובול הפקה אמנותית ועיבוד אופיר סובול הגברה משה בכר תיעוד יעקב פלברבאום
American jazz violinist Regina Carter plays the 'Il Cannone' violin owned by Italian composer Niccolo Paganiniat a press conference, 03 November, 2003, in New York. Carter will play the 260 year-old violin, made by Italian Giuseppe Guarneri in 1743, at a concert, 03 November, at Lincoln Center in New York.
Carter became the first jazz musician - and the first African American - to play the instrument when, as a gesture of solidarity after the 11September, 2001 terrorist attacks, she was invited to perform in Genoa, Italy
The title of this project is aptly-named.
Regina Carter, a Detroit-born, classically-trained jazz violinist, traveled to Genoa, Italy in December, 2001, and performed on Paganini’s legendary Guarneri violin nicknamed “the Canon.” After winning the hearts of the skeptical Italians, with armed gunmen surveying her every move, Carter played flawlessly, and became the first jazz musician and African-American to the play the instrument. The next year, Carter returned to Genoa, recorded on Paginini’s violin and performed a pleasing program of crossover-friendly light classics, South American compositions, a movie tune, and original works. Produced and arranged by Jorge Calandrelli and Ettore Strata, and backed by a combo led by pianist Werner “Vana” Gierig, the selections successfully show off Carter’s impeccable and soulful playing, and the violin’s rich and reverent tones. An 18-piece orchestra supports Carter on Ravel’s “Pavane pour une infante defunte,” Piazzolla’s “Oblivion,” and Ennio Morrricone’s Cinema Paradiso theme. Borislav Strulev’s cello co-stars on Luiz Bonfa’s “Black Orpheus (Manha de Carnaval)” and Faure’s “Apres un reve.” For Debussy’s “Reverie,” Carter delivers some straight-ahead swing.
In sum: She came, she saw, she conquered and, she swung.
–Eugene Holley, Jr.
Regina Carter "When I Hear Your Name"
Bei Mir Bist Du Schoen
Producer, Performer, Recording Arranger: John Clayton Vocals: Dee Dee Bridgewater Piano: Xavier Davis Upright Bass: Matthew Parrish Drums: Alvester Garnett Clarinet: Paquito D'Rivera Accordion: Gil Goldstein
Regina Carter - Oh, Lady Be Good 8/15/1998 - Newport Jazz Festival Regina Carter Quintet: The Jazz Violin
(Performance/Demonstration)
Regina Carter
"Simply Ella"
Award
winning jazz violinist Regina Carter talks about her New album "Ella:
Accentuate the Positive. "
She performs this album live February 24,
2018 at North Central College in Naperville, IL.
Becomes 1st Black - and Non-Classical Artist
To play Paganini's Violin
Regina Carter's Encounter with a 'Cannon'
Jazz Violinist Plays Paganini's Prized Instrument on Stage
Some purists believe that "jazz is a lesser music than European classical music," Carter notes. "Jazz is a music that's improvised, but when you look back at Paganini's history and the era that he came out of, he was a baroque musician and baroque musicians improvised."
Carter says an example of that improvisation comes in her rendition of Maurice Ravel's "Pavane Pour Une Infante Defunte (Dance for a Dead Princess)" on the new CD. "Right here, we're starting to improvise," she tells Montagne, pointing to a transitional passage. "We've changed the harmonies right here."
On the CD, Carter also introduced Paganini's violin to film music — the theme from the film Black Orpheus and Ennio Morricone's Cinema Paradiso are both on the album. There's also a tango, Astor Piazzolla's "Oblivion".
By By Nekesa Mumbi Moody, Associated Press Writer
Sunday, April 27, 2003
When Regina Carter's pianist suggested the jazz musician play Paganini's world-famous violin - so valuable that it's kept under lock and key in Italy - she figured it would be a difficult feat to accomplish.
Still, she wasn't prepared for all the hurdles she'd encounter on her way to becoming the first black - and non-classical - artist to play the 18th-century virtuoso's revered instrument.
The Paganini violin is known in classical music circles as "the cannon" because of its loud, booming sound. Bruce Carlson of the Paganini Commission, the violin maker appointed as chief caretaker, was among those skeptical about letting her play the instrument.
Some feared she'd use an amplifier and damage the priceless instrument, crafted by the Guarneri clan (one of the two best violin makers in the 18th century; the other being Stradivarius). Others had heard that she thumped her own violin in performances and worried that she'd use it as a percussion. "And people thought, 'When she plays jazz on this instrument, it's going to debase the value of the instrument,"' said the 30-something Carter as she sat on the carpet of her Manhattan apartment during a recent interview. "I couldn't believe the stuff." But after hearing her play at the December 2001 concert in Genoa, Carlson now says: "I would rather give the instrument to Regina Carter than to certain classical musicians, because she treats the instrument with utmost respect." Not only has Carter made history by playing it, the Detroit-born violinist also has added to its folklore. In addition, it's become part of her own identity; this month, she released "Paganini: After a Dream," an album featuring her playing the violin.
Regina Carter · Ettore Stratta Pavane Pour Une Infante Defunte Paganini: After A Dream
The violin is usually played only by the winners of the famous Paganini competition, so "opposition was quite strong," said Carter's pianist Werner "Vana" Gierig, who came up with the idea, along with friend Andrea Liberovici. "For any violinist, it's one of the biggest honors you can get," Gierig said. It was Liberovici who first approached the city of Genoa in the spring of 2001 about the idea of Carter playing the instrument, and Gierig was the facilitator. Both the Paganini Commission, a government agency in charge of the physical upkeep of the instrument, and the Paganini Institute, which is in charge of its legacy, helped make the decision on whether Carter should be allowed to play the violin. She had to endure a rigorous examination of her skills - and initial disapproval from traditionalists. "There were obviously howls of protest from die-hard, 'only classical music' types," Carlson said. Officials in Genoa researched Carter, demanding to know her technical approach to playing the violin and even asking for the name of her childhood classical music teacher. Carter was suspicious of all the scrutiny. "I thought, 'These people are being racist,"' she said. "And then Vana told me, 'It's not against you; they even do this with the classical violin players." "She felt like they were disrespecting her. ... She got really mad," said Gierig, laughing at the memory. "I said, 'You know what? You're right, but who was your classical teacher anyway?"' In the end, Carlson said, Carter's classical training helped sway officials. When she arrived in Genoa to see the violin for the first time, Carter said it was "as if the pope, or someone that's really special to you that you really want to meet, is coming and they're surrounded by all these people." The violin was escorted by armed guards, and when the instrument's caretaker entered the room, he checked the humidity and closed the shades.
It was bigger and wider than Carter's German-made 18th-century violin. But the real difference came after she started playing. "It's got a very warm sound that I really like," she said.
Jumping through hoops The December concert became a media event, mentioned in publications ranging from The New York Times to O magazine. With all the preconcert hype, Carter became so nervous that she had nightmares of tripping and falling during the concert and breaking the violin. Instead, the petite, dreadlocked musician played so beautifully, she received standing ovations, and her performance of jazz standards such as "Chattanooga Choo-Choo" and Billie Holiday's "Don't Explain" drew raves.
The concert was so well-received, Gierig proposed returning to Genoa to record an album with Carter playing the famed violin. Despite her earlier success, to receive permission to play the violin for the album, Carter had to overcome many of the same obstacles, plus a new one: The violin's caretakers would only allow classical music to be played on the album. At first, Carter considered that to be a roadblock -- but then found a way to adapt. "I'm not going play like a classical player," she concluded. "I'm going to bridge the two worlds." Her record company, jazz label Verve, balked at a classical album -- and then was unable to finance the entire project. Verve President Ron Goldstein said it was feared Carter would lose her jazz fans -- and not gain any new ones. "We definitely tried to talk her into doing something else," he said. But Carter was prepared to do the album without the label's support. "She was willing to put her own money and her career on the line," Goldstein said. "I think once they saw that I was doing this with or without them, they came to the party," said Carter. "Paganini: After a Dream" includes crossover-friendly light classics, South American compositions, a movie tune and original works. Carter says she'd love the opportunity to again play the violin. "In fact, there was some talk about maybe letting the violin travel to New York," and perhaps do a concert, she said. But Carter said she won't let herself get too excited about the possibility, given all the hoops she had to jump through the first two times. "The disappointment would be too great for me. So I don't even entertain it."
Meanwhile, she's had to adjust to playing her own violin. "I hear this little sound, and it was like a mouse.
And I was like, 'Man, what happened?"' she laughed.
Detroit, August 6, 1966 is an American jazz violinist.
She is the cousin of jazz saxophonist James Carter.
Carter was born in Detroit and was one of three children in her family.
She began piano lessons at the age of two after playing a melody
by ear for her brother's piano teacher. After she deliberately played
the wrong ending note at a concert, the piano teacher suggested she take
up the violin, indicating that the Suzuki Method
could be more conducive to her creativity. Carter's mother enrolled her
at the Detroit Community Music School when she was four years old and
she began studying the violin. She still studied the piano, as well as tap and ballet.
Carter attended Cass Technical High School with a close friend, jazz singer Carla Cook, who introduced her to Ella Fitzgerald.
In high school, Carter performed with the Detroit Civic Orchestra and
played in a pop-funk group named Brainstorm. In addition to taking
violin lessons, she also took viola, oboe, and choir lessons.
Carter was studying classical violin at the New England Conservatory of Music in Boston when she decided to switch to jazz. She transferred to Oakland University in Rochester, Michigan were she was a jazz major under the direction of Marvin Doc Holladay . She also studied and performed with trumpeter Marcus Belgrave Through Belgrave Carter was able to meet a lot of people active in the Detroit jazz scene, including Lyman Woodard.
She graduated in 1985. After graduating, she taught strings in Detroit
public schools. Needing a change of scene, she moved to Europe and spent
two years in Germany. While making connections, she worked as a nanny for a German family and taught violin on a U.S. military base. https://en.wikipedia.org/wiki/Regina_Carter
Regina Carter - Borislav Strulev
Black Orpheus - Manha De Carnaval
American jazz violinist Regina Carter plays the 'Il Cannone' violin owned by Italian composer Niccolo Paganini at a press conference, 03 November, 2003, in New York. Carter will play the 260 year-old violin, made by Italian Giuseppe Guarneri in 1743, at a concert, 03 November, at Lincoln Center in New York. Carter became the first jazz musician - and the first African American - to play the instrument when, as a gesture of solidarity after the 11September, 2001 terrorist attacks, she was invited to perform in Genoa, Italy
The title of this project is aptly-named. Regina Carter, a Detroit-born, classically-trained jazz violinist, traveled to Genoa, Italy in December, 2001, and performed on Paganini’s legendary Guarneri violin nicknamed “the Canon.” After winning the hearts of the skeptical Italians, with armed gunmen surveying her every move, Carter played flawlessly, and became the first jazz musician and African-American to the play the instrument. The next year, Carter returned to Genoa, recorded on Paginini’s violin and performed a pleasing program of crossover-friendly light classics, South American compositions, a movie tune, and original works. Produced and arranged by Jorge Calandrelli and Ettore Strata, and backed by a combo led by pianist Werner “Vana” Gierig, the selections, while not exactly groundbreaking, successfully show off Carter’s impeccable and soulful playing, and the violin’s rich and reverent tones. An 18-piece orchestra supports Carter on Ravel’s “Pavane pour une infante defunte,” Piazzolla’s “Oblivion,” and Ennio Morrricone’s Cinema Paradiso theme. Borislav Strulev’s cello co-stars on Luiz Bonfa’s “Black Orpheus (Manha de Carnaval)” and Faure’s “Apres un reve.” For Debussy’s “Reverie,” Carter delivers some straight-ahead swing. In sum: She came, she saw, she conquered and, she swung. –Eugene Holley, Jr.
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