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Donald E. Osborne, Director California Artists Management 564 Market Street, Suite 420, San Francisco, CA 94104-5412 415 362-2787 / fax: 415 362-2838 / Skype: calartistsdon / Email |
Susan Endrizzi Morris, Director California Artists Management P.O. Box 2479, Mendocino, CA 95460-2479 707-937-4787 / cell: 415-302-1083 / Skype: sueendrizzi / Email |
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Marion Verbruggen
Recorder |
Amsterdam-born recorder virtuoso Marion Verbruggen is one of the most
extraordinary artists of her generation. Famed for her high-spirited,
charismatic and technically dazzling performances, she has earned an
international reputation as the leading exponent of her instrument.
She gives concerts throughout North America, Europe, Africa, Israel,
Japan and Australia.
Marion Verbruggen has been a regular concerto soloist with such ensembles as
Musica Antiqua Köln, Akademie für Ancient Musik Berlin, The Amsterdam Baroque
Orchestra, The Orchestra of the Age of Enlightenment, Tafelmusik Orchestra and
Philharmonia Baroque Orchestra, She collaborates in chamber music ensembles with
other renowned early music artists including harpsichordists Gustav Leonhardt,
Bob Van Asperen and Ton Koopman, gambist Wieland Kuijken, baroque cellist Jaap
ter Linden and violinist Lucy van Dael. She regularly appears in the early music
festivals of Utrecht, Berlin, Berkeley, Boston and Tel Aviv.
In addition, Marion Verbruggen gives unaccompanied, solo recitals
throughout the world.
Enamored of the recorder from an early age, Marion Verbruggen studied at the
Amsterdam Conservatory and the Royal Conservatory in The Hague with Frans
Brüggen. Upon receiving her diplomas cum laude, she was invited to join the
faculty at the Royal Conservatory. Among her many awards and distinctions, she
won the first International Recorder Competition in Bruges, the Nicolai Prize
for the Performances of Contemporary Dutch Music, and the Erwin Bodky Award for
Early Music.
Marion Verbruggen guest teaches at the Royal Conservatory in The Hague and gives
master classes and workshops throughout the world.
Her diverse discography includes music ranging from 17th
century Spanish songs and theatre music to her own transcriptions of the JS Bach
Cello Suites. She has recorded for BMG, EMI Erato, harmonia mundi usa, Ricercar,
Sony, Titanic, and Accent.
“The remarkable Dutch artist gave a
brilliant performance: her technique was incredible, her scholarship impeccable,
and her unpretentious personality made the program so enjoyable. The performance
was pure pleasure.” The
(Cleveland) Plain Dealer
“Telemann imagined his Fantasies on a
wooden instrument, with a more rounded and flexible tone. Ms. Verbruggen’s
reading suggested the complexities that a wooden instrument allows: the variety
of articulation and color she brought to the music magnified the works’ warmth
and charm. She seemed to transcend color entirely, suggesting an orchestral
fanfare... When Telemann left room for decoration and showmanship, Ms.
Verbruggen supplied it with taste and agility, finding a measure of wit in the
music that eludes too many interpreters.”
The New York Times
Soloist
with
Philharmonia Baroque Orchestra:
"The hero of the occasion was soloist Marion Verbruggen. She brought an elegant
musicality, contagious expressivity and more textural and dynamic variety than
one expects from the small instrument to concerti by Vivaldi and Sammartini.
McGegan & Co. gave her tight, affectionate support."
Los Angeles Times
"The quality of listening and interplay between Verbruggen and the first violins
brought an extra dimension."
Orange County Register
“The enthusiasm of the phrasing of both
soloist and orchestra was catchy. Verbruggen’s trills were miraculous, her
breath control heroic. She seems to breathe by choice and seldom by necessity,
maintaining the alto recorder’s long line and capturing the audience with the
sweetness of her sound.”
San Francisco Chronicle
“The main draw is Verbruggen. A far cry
from your typical extra-starch baroque soloist, she looks like some European
Laurie Anderson. A marvel on her recorders, she plays them with lightning speed
and decent intonation. Watch her execute those runs for a while, and you’ll be
convinced that, like a certain famous president, she never inhales. She can
reduce Vivaldi’s ‘Storm at Sea’ Concerto in F for Alto Recorder, RV 443, to a
mere six minutes’ flight of fearless ferocity. With fingers flying in thrilling
trills, she brought down the house.”
San Jose Mercury News
…with
Portland Baroque Orchestra:
“Dutch charm and vitality were in
abundance. Brilliance also made an appearance every time the Dutch recorder
virtuoso Marion Verbruggen took up her instrument. She led a clutch of baroque
concertos with the orchestra, all expertly coordinated and showing a fine spirit
of ensemble. Her level of skill on the recorder is extraordinary. Rapid repeated
notes came out clearly and precisely on the beat. Silvery triplets sounded
effortless. She is a high-strung performer who attacks the runs and staccato
notes, and uses the orchestra as a backstop. She also looked a bit like the
flutist Ian Anderson of Jethro Tull fame in those moments when she touched the
end of her recorder to her thigh. The move plugged the recorder’s end hole and
extended the instrument’s range by a couple of notes.” The Oregonian
“It was a concert of singular pleasure,
laced with luminous playing from Verbruggen and a spirited performance from the
Portland ensemble. When she played and conducted, Verbruggen molded the musical
line with her head and sometimes shoulders. It wasn’t hard to get her drift from
her body language. When she only conducted, she used her expressive hands in the
most amazing dance to communicate to the orchestra. Nothing esoteric here;
Verbruggen wants clarity. With charm, knowledge and brilliant technique, she
proved herself an extraordinary virtuoso and a superb colleague. Bravo.”
Seattle Post-Intelligencer
…with
Tafelmusik:
"Her easy smile and brimming assurance completed a most stylish soloist package
for a concert entitled The Virtuoso Recorder. Her playing was thoroughly and
comfortably imbued with the awareness of Baroque style. It is a pleasure to see
and hear such complete instrumental ease."
The Toronto Star
“Marion Verbruggen played her three recorders with life and soul in wonderful
plastic curves, in soft trills and spashy runs.”
Berlingske Tidende
"In addition to playing brilliantly in concertos by Scarlatti, Sammartini, and
Vivaldi, Verbruggen added spice to the program by performing an unconventional
solo written by the Japanese composer Maki Ishii. He had Verbruggen playing two
recorders at once, one from each side of her mouth, one tuned to modern pitch
and the other to Baroque. It made for some fascinating microtonal effects."
The (Cleveland) Plain Dealer
"The early music fabric of the concert got a sharp tug into the 20th century
with Japanese composer Make Ishii's 'Black Intention', a piece written in 1985
for one performer playing four instruments. Starting from a pentatonic loop for
soprano recorder, Verbruggen vocalized, flutter-tongued, played glissandi and
multiphonics, doubled with two recorders, and screamed before making a tiger
leap across the stage to beat the gong (literally) for avant-garde virtuosity.
Her mastery of the battery of techniques demanded by Ishii matched (and this is
really saying something) her capacities with the Baroque repertoire on this
exacting program"
The (Toronto) Globe and Mail
CHAMBER MUSIC with
harpsichordist John Gibbons:
“Verbruggen brings vibrancy to
everything she plays. Technically she seems to be without limitations. Her
breath control is impressive. Never does she make a physical compromise to the
integrity of the phrasing.”
The Boston Globe
“A ravishing effort. A superlative
performance. The torrents of notes that poured forth, the extraordinary agility,
the ability within narrow dynamic limits to convey emotion and musical shape
were in another class altogether. Verbruggen is now a towering figure among
recorder players: her lithe, intense figure was immersed from head to toe in the
music, the fierce energy emanating from her an odd contrast to the sweet,
silvery sound. She and Gibbons made wonderful music and apparently enjoyed
themselves as much as the audience.”
Seattle Post-Intelligencer
… with harpsichordist Mitzi
Meyerson
"Listening to Verbruggen and Meyerson make their way through music of the 16th,
17th and 18th centuries was to feel the pull of history. These splendid players
made intimate instruments into brilliant, forward-sounding - indeed, very public
- ones. Miss Verbruggen's virtuosity in the Corelli 'Follia' (Op. 5, No. 12)
delighted everyone."
The New York Times / Bernard Holland
"Verbruggen and Meyerson performed a charming concert at Stanford University,
with recorder tones softly blossoming and virtuoso playing of the brightest
animation. Verbruggen does not seem to breathe. The art of lavishly embellished
music is to render the most difficult ornamentation fully, to be free in
expression, yet to come out within the rhythmic frame with impeccable nicety.
Verbruggen is a master of style."
Stanford Times-Tribune
… with cellist Phoebe Carrai &
harpsichordist Arthur Haas:
UCLA Center for the Performing Arts presents at the Westwood United Methodist
Church:
"Believe what you hear: Verbruggen is a remarkable player, who champions her
instrument with grace and chops to spare. Deeply musical and technically nimble,
Verbruggen left a strong impression, and her pure tones found a resonant home in
this space."
Los Angeles Times
"Verbruggen, Haas and Carrai make a superb ensemble. Carrai's expressivity and
passion matched Verbruggen's superb virtuosity. All three not only played as
though they breathed together, but they had a great time doing it. Verbruggen,
of course, played like an angel."
Seattle Post-Intelligencer
…with
“ Musical offering”:
“Verbruggen was ardent and precise; the
ethereal beauty of her playing made a good case for reviving the recorder. Her
virtuosity simply exhausts the available superlatives in a critic’s vocabulary.”
Chicago Tribune
“The ensemble was moved to rise to the
level of Sunday’s guest artist, recorder virtuoso Marion Verbruggen. Her
apparently limitless breath and speed and razor-sharp rhythm made short work of
Sammartini’s stupendous coloratura demands. Verbruggen has interpretive vision.
She can imagine how wondrous the music can be, and then make that wonder real.
More importantly, her presence made great impact on the musicians around her.
She is a magnetic, inspiring presence.”
The Milwaukee Journal
“People flocked to the performance to
hear Dutch recorder superstar Verbruggen work her magic on the all-Baroque
program. The stellar visiting soloist is a fiercely committed chamber musician
as well as a true virtuoso.”
Milwaukee Sentinel
…with The Newberry Consort:
“The extraordinary virtuoso, Dutch
recorder player Marion Verbruggen joined the group as guest artist. Her artistry
was nothing short of breathtaking, whether she was tossing off the fiendishly
frantic contrapuntal lines of Nicolaus a Kempis or the birdlike effects of a
solo piece by Jacob van Eyck. Her playing strikes the perfect balance of
vitality and grace; it was a rare treat to hear both soprano and tenor recorder
played so exquisitely.” Chicago Tribune
Recording Reviews
Bach: Cello Suites #1-3, arranged by
Verbruggen (HMU 907071)
“This is NOT an absurd production, whatever may be the first impression of some
purists. These are committed and convincing performances of Bach cello suites.
The music of these suites - structure and expression - is all there, and it is
extremely well played. Multiple-stops are adeptly rendered by quick upbeat
arpeggiation. Intonation is fine, in spite of the gymnastics demanded by the
music, and I like Verbruggen’s tone: bright but not strident, very warm in the
lower register, and with a discreet vibrato. Verbruggen ornaments easily, and
not to excess. I recommend this disc, for its interesting premise, and for the
technically and musically accomplished performances.”
FANFARE
“All three suites are played brilliantly,
with thorough understanding of baroque articulation and the character of the
various dances. Verbruggen is well known as one of today’s most outstanding
recorder exponents, and her edition can only elicit admiration."
STEREOPHILE
“Not for purists, but a musically
intelligent perspective.”
ALTE MUSIC AKTUELL
“Here the musical line has been
distilled, even purified, so the listener’s focus is narrowed, and Verbruggen’s
delicate, sensitive playing more than validates this approach. Through
Verbruggen’s artistry, the listener can hear this music anew, all the better to
understand and appreciate it.”
BAY WINDOWS
“I must say that the transcriptions
really do work. I suspect the great master would have been pleased by this
offering. Marion Verbruggen’s playing is excellent, with all the hallmarks of a
fine and considered performance.”
MELBOURNE "THE AGE"
“Any technical problems Marion Verbruggen may have encountered in adapting the
first three suites for her instrument are barely apparent in the music, which
she plays with astonishing fluency. She executed Bach’s long lines with style
and expression.”
BBC MAGAZINE
“Her technique is really astounding and her transcriptions are surprisingly
idiomatic and well suited to the recorder. The recording is enhanced by a
reverberant acoustical space that adds depth to the recorder’s sound. The pieces
gain melodic clarity on the recorder. This recording is not to be missed by any
serious fan or performer of the recorder.”
SFEMS Newsletter
Handel:
The Complete Sonatas for Recorder
Marion Verbruggen with Ton
Koopman & Jaap ter Linden (HMU
907151).
"Verbruggen, one of the world's great recorder players, offers us a rewarding
journey through the complete recorder sonatas of Handel, receiving distinguished
accompaniment from Koopman on the harpsichord and cellist ter Linden."
HENDON TIMES
"The excellent Dutch trio has performed all the sonatas Handel wrote during the
1720's."
THE TIMES
"Frankly, it would be difficult to overpraise this disc. Verbruggen's playing is
beautifully phrased, and perfectly in tune, qualities not to be taken for
granted ever with professional recorder players. Her fast movements have a
rhythmic alertness that makes them bounce along, and the ornamentation she
casually tosses in makes you catch your breath. Each slow movement is a little
work of art, deeply felt, sensuously colored and with elaborately woven
decorations that display a profound musical understanding while never obscuring
the composer's own long lines."
CLASSIC CD
"Featuring the famous Marion Verbruggen with the equally famous Ton Koopman on
the harpsichord, this is a thrilling disc and an inspired gift."
CORK EXAMINER
"If you thought the recorder was for kids, think again. Verbruggen takes us on a
journey through the complete Handel set and is in dazzling form throughout.
Koopman and ter Linden's continuo is likewise imaginative and involved."
WOLVERHAMPTON STAR
"Verbruggen and her illustrious colleagues select impressive tempi that allow
the music to flow with a graceful facility. Five stars."
BBC MAGAZINE
"These are very lively and very musically intelligent performances. This is
outstandingly fine recorder playing, sweet in tone, pointed in articulation,
perfectly tuned, technically very fluent, and informed by a really good
understanding of the art of ornamentation. Add to that the fact that Marion
Verbruggen has a real command of Handel's language and you will realize that
this CD is out of the ordinary. Lively music-making runs throughout this
attractive disc."
GRAMOPHONE
"The distinguished Dutch wind player renders all six of the chamber pieces
Handel penned for recorder in the 1720's. Despite the fact that the instrument
is severely limited in its dynamic and coloristic potential, Verbruggen is a
virtuosa beyond compare in this repertoire. She spins out blandishing phrases
and she kicks up a storm in Handel's dance movements."
SAN FRANCISCO EXAMINER
“Ay Amor! Spanish 17th Century Songs & Theatre Music”
with The Newberry Consort
(HMU 907022)
“The remarkable Marion Verbruggen....”
CHICAGO TRIBUNE
“The real reason to buy this disc,
though, is guest recorder player Marion Verbruggen. This woman is just an
incredible musician: her tone is rich and smooth, her intonation is as perfect
as a recorder gets, and she gives real meaning to the old cliche about making it
sound so easy.”
STEREOPHILE
Telemann: Fantasias
(HMU 907158)
"Verbruggen characterizes the many facets of Telemann's style with wonderful
flair and caprice, soaring unfettered in the introductory flights of fantasy,
effectively colouring the implied fugues, and romping through the Polish folk
dances with the 'barbaric beauty' that Telemann so admired."
Performance ****
Sound ****
BBC MAGAZINE, May 1998
"Verbruggen demonstrates an enviable mastery of her instrument, and brings
spirit and bravado to her performances, admirably enlivened with fluent
ornamentation. Verbruggen brings
much imagination to bear, with perhaps a whimsical touch. The sound, captured at
Skywalker Sound, is first-rate.
Recommended."
FANFARE, May/June 1998
“The 12 fantasies for solo flute are
beautifully crafted miniatures distilling the conventional roles of solo and
bass into one. Verbruggen’s inherently ‘Dutch’ approach is pleasingly free, with
some deliciously improvisatory ornaments; thankfully she takes fewer liberties
with the music than other artists in recent years and the playing is storng,
convincing and full of character.”
EARLY MUSIC, May 1999
Telemann: Concerto for Recorder,
Viola da gamba and Strings in A minor - Orchestra of the Age of Enlightenment /
Monica Huggett (HMU 907093)
“Verbruggen is a spirited player who
brings the music to life in a spontaneous and effective manner and her
performance of the Telemann A minor Suite is much more interesting than many
others which I have heard.”
GRAMOPHONE
“Verbruggen is a terrific player and does
an excellent job.”
MONDE DE LA MUSIQUE
“The performances just couldn’t be better. Gambist Sarah Cunningham and recorder
player Marion Verbruggen are seasoned pros, and Monica Huggett spurs on the
crackerjack Orchestra of the Age of Enlightenment to its most elegant and
energetic playing yet. For those who still think early-music groups lack
technical finesse, this CD offers a perfect rebuttal.”
DALLAS MORNING NEWS
“The performance is top-notch in all
respects.”
MILWAUKEE JOURNAL
“Telemann may have been the most prolific
composer in history. Even more impressive is the high level of invention in his
music. The Recorder Suite, which seems to be Telemann’s greatest hit, is a great
piece and very well done here. Verbruggen plays with excellent command and
style: her embellishments are especially tasty. This is a choice collection of
excellently played Telemann, and a fine introduction to his work.”
CLASSICAL PULSE!
Jacob Van Eyck: “The Flutes' Garden of Delights" (HMU 907072 / 907170)
“Verbruggen - always one of the most
demonstrative and individualistic of recorder artists - illustrates that concept
with playing of great charm and variety.”
SEATTLE TIMES
“Recorder star Marion Verbruggen may not need any more fans, but her
fleet-fingered rendering of excerpts from Jacob van Eyck’s l7th century ‘The
Flute’s Garden of Delights’ is sure to attract new devotees anyway.”
OAKLAND TRIBUNE
“This is a truly delightful CD of music
by the blind Dutch composer van Eyck. Marion Verbruggen plays fancifully on two
different recorders.”
PRODIGY
“I can think of no better artist than
Verbruggen for these pieces. She has an unflappable technique, a highly flexible
approach to phrasing, beautiful intonation, and a flair for the dramatic. She
has chosen some of the most beautiful pieces from the collection. She is a
terrific recorder player and a superb musician. Her command of articulation,
particularly the varying length of her ‘detache’ tonguing, makes these readings
both interesting and quite beautiful. The sound is ideal."
AMERICAN RECORD GUIDE
“Verbruggen plays the recorder with
amazing skill and versatility. Listening to these pieces can indeed be
delightful.”
SOUNDPOST
“I wouldn’t be surprised if Marion
Verbruggen could have given van Eyck a run for his money technically, for she
plays with the sureness, firm pitch and facility of a good keyboardist, and one
whose hands are perfectly coordinated in the two dubbed duets.”
GRAMOPHONE
Vivaldi: The Four Seasons
with the Flanders Recorder
Quartet
(HMU 907153)
"None of the arrangements of Vivaldi's popular set have succeeded as well as
this new 'fiddle free' arrangement for five recorders. Vivaldi himself wrote a
good bit of music for recorders, and the sound is quite idiomatic and authentic.
The arranagement is distinguished by its exceptional musicality, and the
performance is stunning, with every phrase beautifully articulated. Marion
Verbruggen is an unparalleled virtuoso on this instrument, but who knew that
five recorders could provide such a rich palette of colors? I think Vivaldi
would have liked this wonderful recording. I love it."
Performance: SUPERB
Recording: EXCELLENT
STEREO REVIEW
"This is a novelty record but not a parody. The musicians are very accomplished
and approach this project with serious intent. A very fine player, Marion
Verbruggen has collaborated with this quartet before. The playing is very fine
here, and Verbruggen executes some of the expressive solo lines very well
indeed."
AMERICAN RECORD GUIDE
"Innovative transcriptions for flutes and piccolo.
Very interesting!"
ALERTA
Vivaldi: Concerto in D Major, “La pastorella”
(HMU 907046)
“The delightful personality of Ms. Verbruggen and her rapport with her
colleagues is captured by the engineers with an invigorating immediacy.”
AMERICAN RECORDER
“Six musicians turn seven mixed concertos
for winds and strings into one hour of unmixed delight.”
AUDIO / VIDEO INTERIORS
“This is a quite wonderful record: the
music shows this adorable composer at his most brilliant best. The playing of
this exceptionally gifted band is beyond reproach: they must have had a
wonderful time making this album. If I hear a finer Baroque record than this in
the whole of 1992 I shall be astonished.”
CD REVIEW
“Marion Verbruggen is the queen of the
baroque flute. She is an alluring performer, whose performances of Vivaldi are
without equal.”
BIMESTRIEL
Vivaldi: Recorder Concerti -
Philharmonia Baroque Orchestra
/ Nicholas McGegan
(HMU 907040)
“Marion Verbruggen plays a recorder, dialogues with an excellent bassoonist, and
makes no bones about being the soloist in seven Vivaldi concertos with the
expert early-instrument orchestra, Philharmonia Baroque conducted by Nicholas
McGegan. I would pick this disc for its technical virtuosity, fidelity to
baroque practices, and above all the remarkable expressiveness Verbruggen gets
from a usually rather inexpressive instrument.”
THE WASHINGTON POST
“The performances are delightful and
unfailingly musical, and the playing of both soloists and orchestra throughout
is impeccable. The recording is admirable. Very strongly recommended.”
CD REVIEW
“Clear like a bird. These popular Vivaldi
concertos are offered with no strings attached, so gay and airy is the mood of
play and manner of recording. Certainly you could not find Vivaldi that is
fresher or more carefree. Marion Verbruggen dances in and out of the way of the
playful chamber orchestra and the whole effect is bouncy and delectable.”
THE MAGIC FLUTE
“Marion Verbruggen is a deft soloist -
her playing of the tiny sopranino recorder is especially exciting.”
SAN FRANCISCO CHRONICLE
“Though Dutch-born, recorderist
Verbruggen concertises frequently in the Bay Area. She is an acknowledged
virtuoso who imparts genuine musicianship to an instrument that in other hands
frequently sounds like nothing more than a penny-whistle. McGegan guides his
period-instrument band and harpsichord continuo with unflagging spontaneity and
brio.”
SAN FRANCISCO EXAMINER
“Vivaldi is imaginatively explored by the
Dutch virtuoso Marion Verbruggen. It’s difficult to imagine these keyless,
end-blown wooden flutes being capable of as much sound variety as that drawn
from them by Verbruggen.”
LOS ANGELES TIMES