Altstaedt, Nicolas aus Berlin

Altstaedt, Nicolas from Berlin

Music: Instrumental

Address

10115 Berlin

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Nicolas Altstaedt lebt als freischaffender Cellist in Berlin.
Als Solist spielt er weltweit mit Orchestern wie mit dem Tonhalle Orchester Zuerich, als auch als Kammermusiker mit Kuenstlern wie Gidon Kremer, Yuri Bashmet, Daniel Hope und dem Quatuor Ebene.
Intensiv setzt er sich mit der zeitgenoessischen Musik auseinander, so konzertierte er mit den Komponisten Thomas Ades (Klavierquintett in der Carnegie Hall 11/07), Moritz Eggert, Franghiz Ali–Zadeh, Lera Auerbach und Sofia Gubaidulina und spielte neben zahlreicher Urauffuehrungen mit dem Basler Sinfonieorchester die Schweizer Erstauffuehrung des Cellokonzertes von Georg Friedrich Haas.
Dieses Jahr wird er mit dem "Quatuor pour la fin du temps" von Messiaen (mit Carolin und Joerg Widmann und Alexander Lonquich) das Eroeffnungskonzert der Salzburger Festspiele spielen.
Seine Debut CD bei Genuin wurde vom Strad Magazin als "Selection of the month 12/07" ausgewaehlt, weitere folgen bei Naxos (Weltersteinspielung saemtlicher Werke von Gabriel Pierne und Vincent d'Indy) und Claves (mit der Staatsphilharmonie Rheinland Pfalz unter Ari Rasilainen).
Zum Haydnjahr wird er beide Konzerte mit der Potsdamer Kammerakademie unter Michael Sanderling bei Genuin einspielen.
Als einer der wenigen europaeischen Kuenstler wurde er in die Lincoln Center Chamber Music Society aufgenommen und debutierte mit dem Elgar Cellokonzert beim Melbourne Symphony Orchestra in Australien vor 15000 Leuten in der Serie der Sidney Myer Bowl Free Concerts.

Interview und Ausschnitte aus dem Schumanntrio mit Gidon Kremer in Lockenhaus:http://www.youtube.com/watch?v=-Wbez7qEnts

Konzert im Seoul Arts Center:
http://www.youtube.com/watch?v=TZHZaDOPpPg

Rezension des ersten Cellofestivals in Adelaide 04/08:
http://www.theaustralian.news.com.au/story/0,25197,23569915-5013577,00.html

http://genuin.de/de/04_d.php?k=107

http://genuin.de/de/04_d.php?k=80

"Zürich, Tonhalle. – Tschaikowskys Ro-
koko-Variationen gehören nicht zu den al-
lerspannendsten Werken. Umso deutli-
cher zeigt sich da, ob der Solocellist Inte-
ressantes zu bieten hat. Der 25-jährige
deutsch-französische Nicolas Altstaedt,
der am Samstag im Orpheum-Extrakon-
zert auftrat, hat. Eine Note genügt ihm, um
eine Geschichte zu erzählen, er trillert sich
durch alle Regenbogenfarben, flirtet mit
dem Tonhalle-Orchester und weiss der
Zierlichkeit stets ein wenig Ironie beizu-
mischen. Sein Ton ist gross und warm, die
Virtuosität mühelos, und die pointierte
Klanglichkeit deutet an, dass sein Hori-
zont über die Schlager des Repertoires hi-
nausreicht (seine kürzlich bei Genuin er-
schienene CD enthält nicht zufällig Werke
von Webern oder Ligeti).
Gidon Kremer hat Altstaedt der Or-
pheum-Stiftung zur Förderung junger Solisten empfohlen, das sagt schon einiges
über seine Eigenständigkeit."
(Tagesanzeiger Zuerich 17.9.07)

"This uncommonly well-planned and well-recorded
recital may have arisen from a competition
winner (of the 2005 Deutscher Musikwettbewerb)
wishing to display the range of his abilities, but it
offers a far more satisfying experience than most
such showcases. Beethoven’s Fourth Cello Sonata
teases as it charms, with an almost lazily drawn
opening Andante that makes an ideal foil for the nervous energy of the
succeeding Allegro. The Adagio moves forward while never forsaking the
uneasy calm that is its due property, imperceptibly giving way to the
competing claims of violence and elegance in the finale. In short, it’s late
Beethoven, fully realised as such.
Then come the Webern works for cello and piano, achingly done, and
how modern the Fifth Bach Suite sounds when placed between the
sonatas by Webern and Ligeti! A swift approach to the dance movements
is one reason, but another is the remarkable variety of bowing and
articulation that never stands on ceremony: the prelude is startlingly
flexible and ruminatory, the sarabande cool and distant, the gigue almost
thrown away. So too the opening dialogue of the Ligeti is more intimately
conversational than in a similar debut album from the fine Emmanuelle
Bertrand on Harmonia Mundi, and the concluding Stravinsky Suite italienne
reveals a more dashingawareness of its Baroque models than Tatiana
Vassilieva’s first album for Naxos. Altstaedt is already much more than
promising, and anyone interested in a freshly uninhibited approach to
Bach should hear him."
PETER QUANTRILL (The Strad) ueber die Genuin Debut CD 12/07

weitere Infos unter:

http://www.nicolasaltstaedt.com

Nicolas Altstaedt lives as a freelance cellist in Berlin.
As a soloist, he performs worldwide with orchestras such as the Tonhalle Orchester Zuerich, as well as a chamber musician with artists like Gidon Kremer, Yuri Bashmet, Daniel Hope, and the Quatuor Ebene.
He intensively engages with contemporary music, having performed with composers such as Thomas Ades (piano quintet at Carnegie Hall 11/07), Moritz Eggert, Franghiz Ali-Zadeh, Lera Auerbach, and Sofia Gubaidulina. He has premiered numerous works and gave the Swiss premiere of Georg Friedrich Haas's cello concerto with the Basel Symphony Orchestra.
This year, he will perform the opening concert of the Salzburg Festival with Messiaen's "Quatuor pour la fin du temps" (with Carolin and Joerg Widmann and Alexander Lonquich).
His debut CD on Genuin was selected as "Selection of the month 12/07" by The Strad Magazine, with more recordings to follow on Naxos (world premiere recordings of all works by Gabriel Pierne and Vincent d'Indy) and Claves (with the State Philharmonic of Rhineland-Palatinate under Ari Rasilainen).
For the Haydn year, he will record both concerts with the Potsdam Chamber Academy under Michael Sanderling on Genuin.
As one of the few European artists, he was accepted into the Lincoln Center Chamber Music Society and made his debut with Elgar's cello concerto at the Melbourne Symphony Orchestra in Australia in front of 15,000 people at the Sidney Myer Bowl Free Concerts series.

Interview and excerpts from the Schumann Trio with Gidon Kremer in Lockenhaus: http://www.youtube.com/watch?v=-Wbez7qEnts

Concert at the Seoul Arts Center: http://www.youtube.com/watch?v=TZHZaDOPpPg

Review of the first Cello Festival in Adelaide 04/08: http://www.theaustralian.news.com.au/story/0,25197,23569915-5013577,00.html

http://genuin.de/de/04_d.php?k=107

http://genuin.de/de/04_d.php?k=80

"Zurich, Tonhalle. - Tchaikovsky's Rococo Variations are not among the most exciting works. This makes it all the more clear whether the solo cellist has something interesting to offer. The 25-year-old German-French Nicolas Altstaedt, who performed at the Orpheum Extra concert on Saturday, does. He needs just one note to tell a story, he trills through all the rainbow colors, flirts with the Tonhalle Orchestra, and always knows how to mix a bit of irony with delicacy. His tone is large and warm, his virtuosity effortless, and the pointed sonority suggests that his horizon extends beyond the hits of the repertoire (his recent CD on Genuin containing works by Webern or Ligeti is no coincidence). Gidon Kremer recommended Altstaedt to the Orpheum Foundation for the promotion of young soloists, which says a lot about his independence." (Tagesanzeiger Zurich 17.9.07)

"This uncommonly well-planned and well-recorded recital may have arisen from a competition winner (of the 2005 Deutscher Musikwettbewerb) wishing to display the range of his abilities, but it offers a far more satisfying experience than most such showcases. Beethoven’s Fourth Cello Sonata teases as it charms, with an almost lazily drawn opening Andante that makes an ideal foil for the nervous energy of the succeeding Allegro. The Adagio moves forward while never forsaking the uneasy calm that is its due property, imperceptibly giving way to the competing claims of violence and elegance in the finale. In short, it’s late Beethoven, fully realized as such. Then come the Webern works for cello and piano, achingly done, and how modern the Fifth Bach Suite sounds when placed between the sonatas by Webern and Ligeti! A swift approach to the dance movements is one reason, but another is the remarkable variety of bowing and articulation that never stands on ceremony: the prelude is startlingly flexible and ruminatory, the sarabande cool and distant, the gigue almost thrown away. So too the opening dialogue of the Ligeti is more intimately conversational than in a similar debut album from the fine Emmanuelle Bertrand on Harmonia Mundi, and the concluding Stravinsky Suite italienne reveals a more dashing awareness of its Baroque models than Tatiana Vassilieva’s first album for Naxos. Altstaedt is already much more than promising, and anyone interested in a freshly uninhibited approach to Bach should hear him." PETER QUANTRILL (The Strad) on the Genuin Debut CD 12/07

For more information visit:

http://www.nicolasaltstaedt.com