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  »  New  Overlooked Cello Repertoire...  Weilerstein and Barenboim play Carter Cello Concerto...  Musical Discussions  Forum     4  28145  10-30-2007
04-27-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,327
Joined on 05-28-2004

Post #: 1
Post ID: 4279
Reply to: 4279
Mstislav Rostropovich Dies at 80

Visiting my site I saw the NPR article informing about the death of Mstislav Rostropovich, so sad….

http://ca.news.yahoo.com/s/afp/070423/entertainment/entertainment_russia

http://www.npr.org/templates/story/story.php?storyId=9870484&ft=1&f=1041

http://www.npr.org/templates/story/story.php?storyId=9871191

http://news.bbc.co.uk/2/hi/europe/6598895.stm

http://news.bbc.co.uk/2/hi/europe/2911181.stm

Rostropovich_at_the_Wall.jpg

Mstislav Rostropovich at the Berlin Wall in 1989


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
04-27-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,327
Joined on 05-28-2004

Post #: 2
Post ID: 4283
Reply to: 4279
Historic Russian Archives - Rostropovich Edition
I think there were few homes that “do music” and who did not play today Mstislav Rostropovich. I do not know why but I got today distressing with news about Rostropovich death much more then I would expect from a death of a person that I did not know personally. Anyhow, the Brilliant Classics has a box set with 10 disks: Historic Russian Archives - Rostropovich Edition. The collection contains:

1.  Symphony-Concerto for Cello and Orchestra in E minor, Op. 125 by Sergei Prokofiev
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Kiril Kondrashin
Orchestra/Ensemble:  Moscow Philharmonic Orchestra
Period: 20th Century 
Written: 1951/1952; USSR 
2.  Concerto for Cello, Op. 66 by Nikolay Myaskovsky
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Kiril Kondrashin
Orchestra/Ensemble:  Moscow Philharmonic Orchestra
Period: 20th Century 
Written: 1944-1945; USSR 
3.  Concerto for Cello in B minor, Op. 104/B 191 by Antonín Dvorák
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Boris Khaikin
Orchestra/Ensemble:  USSR Radio/TV Large Symphony Orchestra
Period: Romantic 
Written: 1894-1895; USA 
4.  Concerto for Cello in A minor, Op. 129 by Robert Schumann
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Gennady Rozhdestvensky
Orchestra/Ensemble:  USSR State Symphony Orchestra
Period: Romantic 
Written: 1850; Germany 
5.  Concerto for Cello no 1 in A minor, Op. 33 by Camille Saint-Saëns
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Victor Dubrovsky
Orchestra/Ensemble:  USSR State Symphony Orchestra
Period: Romantic 
Written: 1872; France 
6.  Concerto for Cello no 1 in C major, H 7b no 1 by Franz Joseph Haydn
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Rudolf Barshai
Orchestra/Ensemble:  Moscow Chamber Orchestra
Period: Classical 
Written: circa 1761-1765; Eszterhazá, Hungary 
7.  Concerto for Cello no 2 in D major, Op. 101/H 7b no 2 by Franz Joseph Haydn
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Rudolf Barshai
Orchestra/Ensemble:  Moscow Chamber Orchestra
Period: Classical 
Written: 1783; Eszterhazá, Hungary 
8.  Variations for Cello and Orchestra on a Rococo theme, Op. 33 by Peter Ilyich Tchaikovsky
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Gennady Rozhdestvensky
Orchestra/Ensemble:  USSR State Symphony Orchestra
Period: Romantic 
Written: 1876; Russia 
9.  Pezzo capriccioso for Cello and Orchestra in B minor, Op. 62 by Peter Ilyich Tchaikovsky
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Gennady Rozhdestvensky
Orchestra/Ensemble:  USSR State Symphony Orchestra
Period: Romantic 
Written: 1887; Russia 
10.  Chant du ménestrel for Cello and Orchestra, Op. 71 by Alexander Glazunov
Performer:  Mstislav Rostropovich (Cello)
Period: Romantic 
Written: 1900; Russia 
11.  Concert-Rhapsody for Cello and Orchestra by Aram Khachaturian
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Yevgeny Svetlanov
Period: 20th Century 
Written: 1963; USSR 
12.  Concerto for Cello no 1 in E flat major, Op. 107 by Dmitri Shostakovich
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Gennady Rozhdestvensky
Period: 20th Century 
Written: 1959; USSR 
13.  Concerto for Cello no 1, Op. 23 by Boris Tischschenko
Performer:  Mstislav Rostropovich (Cello)
Period: 20th Century 
Written: 1963; USSR 
14.  Concerto for Cello by Victor Vlasov
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Gennady Rozhdestvensky
15.  Sonata for Cello and Piano in C major, Op. 119 by Sergei Prokofiev
Performer:  Mstislav Rostropovich (Cello), Alexander Dedyukhin (Piano)
Period: 20th Century 
Written: 1949; USSR 
16.  Sonata for Cello and Piano by Aram Khatchaturian
Performer:  Mstislav Rostropovich (Cello), Aram Khatchaturian (Piano)
17.  Sonata for Cello and Piano by Edvard Mirzoyan
Performer:  Mstislav Rostropovich (Cello)
18.  Humoreske, Op 5 by Mstislav Rostropovich
Performer:  Mstislav Rostropovich (Cello)
Period: 20th Century 
19.  Concertino for Cello in G minor, Op. 132 by Sergei Prokofiev
Performer:  Mstislav Rostropovich (Cello)
Period: 20th Century 
Written: 1952; USSR 
20.  Concerto for Cello, Op. 43 by Moysey Samuil Vainberg
Performer:  Mstislav Rostropovich (Cello)
Period: 20th Century 
Written: 1948/1956; USSR 
21.  Concertino-monologue for Cello, Winds and Timpani in C major by Lev Knipper
Performer:  Mstislav Rostropovich (Cello)
Period: 20th Century 
Written: 1964; USSR 
22.  Concerto for Cello in D minor by Edouard Lalo
Performer:  Mstislav Rostropovich (Cello)
Period: Romantic 
Written: 1877; France 
23.  Concerto for Cello by Arthur Honegger
Performer:  Mstislav Rostropovich (Cello)
Period: 20th Century 
Written: 1934; France 
24.  Concerto for Cello in D Major by Henri Sauguet
Performer:  Mstislav Rostropovich (Cello)
25.  Sonata for Cello and Piano no 4 in C major, Op. 102 no 1 by Ludwig van Beethoven
Performer:  Mstislav Rostropovich (Cello)
Period: Classical 
Written: 1815; Vienna, Austria 
26.  Sonata for Cello and Piano no 1 in E minor, Op. 38 by Johannes Brahms
Performer:  Mstislav Rostropovich (Cello)
Period: Romantic 
Written: 1862-1865; Austria 
27.  Stücke (5) im Volkston for Cello and Piano, Op. 102 by Robert Schumann
Performer:  Mstislav Rostropovich (Cello)
Period: Romantic 
Written: 1849; Germany 
28.  Après un rêve, Op. 7 no 1 by Gabriel Fauré
Performer:  Mstislav Rostropovich (Cello)
Period: Romantic 
Written: 1877; France 
29.  Suite for Cello solo no 2, Op. 80 by Benjamin Britten
Performer:  Mstislav Rostropovich (Cello)
Period: 20th Century 
Written: 1967; England 
30.  Sonata for Cello and Piano in D minor, H 125 by Frank Bridge
Performer:  Mstislav Rostropovich (Cello)
Period: 20th Century 
Written: 1913-1917; England 
31.  Suite for Cello solo no 5 in C minor, BWV 1011 by Johann Sebastian Bach
Performer:  Mstislav Rostropovich (Cello)
Period: Baroque 
Written: circa 1720; Cöthen, Germany 



"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
04-28-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,327
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Rostropovich plays Bach No 3 and Brahms Double Concerto





"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
05-13-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
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"It was the genius to awaken genius in others."

It was an excellent article in today New York Times:

Remembering Rostropovich, the Master Teacher
By MICHAEL WHITE
MANCHESTER, England

IT is a truth upheld by many in the music world if not universally acknowledged that pianists are neurotic, violinists vain and cellists ... well, cellists are nice. Straightforward. Sociable. They’ll tell you so themselves.

Whereas other solo-status instrumentalists tend to come together only in competitions, cellists swarm like bees at big international meetings. The Kronberg Festival in Germany is one. And for the last two decades another has been the Manchester International Cello Festival, where Ralph Kirshbaum, the American head of the cello department at the Royal Northern College of Music, has pulled in star players every two of three years to perform, teach, talk and stay up until 3 a.m. comparing Strads, spikes and Piatigorsky stories.

Last weekend the festival was back in business, with Yo-Yo Ma, Mischa Maisky, Colin Carr, Thomas Demenga, Natalia Gutman and some 40 other participants jostling like angels on a pinhead in endurance concerts that began at 7 and ran till after midnight. Students, amateurs and aficionados packed the halls. Good times were had.

But there was a ghost at this feast, benign but insistent. It was the ghost of Mstislav Rostropovich, who had planned to be in Manchester too but died the week before.

From the beginning Mr. Kirshbaum said he didn’t want the festival to turn into a wake; the scheduled theme was English music, and it wasn’t to be hijacked by this death. But as Mr. Ma said of Mr. Rostropovich in an interview: “There can scarcely be a cellist here, or anywhere, who wasn’t affected by him. He was supreme. He was loved. He was a wake-up call for every one of us. You can’t get away from that.”

And there was scarcely a cellist of distinction here who didn’t claim to be some kind of student of the great man, or a student of a student. Most impressive was the number who had actually participated in his legendary classes in the 1960s at the Moscow and Leningrad conservatories: Ms. Gutman, Mr. Maisky, David Geringas, Karine Georgian, Ivan Monighetti. An elite corps, they were honored here like surviving next of kin.

“It’s true,” Ms. Gutman said. “We were his family. We have lost a father.” And their collective testimony made it clear that, in the words of Mr. Maisky: “He was a great cellist but perhaps an even greater teacher. This was his ultimate gift.”

For obvious reasons Mr. Rostropovich’s teaching was less well known to the world than his concert work. But a biography just published in Britain, by Elizabeth Wilson, herself a Moscow Conservatory student from the ’60s, emphasizes its importance. And in hindsight it can be seen as central to his sense of self as a musician.

Mr. Rostropovich began to teach at 15, taking over from his father, a distinguished cello teacher who died young. Then for 25 years, from 1948 until he left Russia in 1974, he taught in both Moscow and Leningrad, with a particularly famous class in Moscow: Class 19.

At a time in the Soviet Union when speech was guarded, opinions were monitored and life was gray, Mr. Rostropovich’s Class 19 was provocative, energized and, Mr. Geringas said, “a ray of light, opening up possibility.” His students called him Sunshine. And 40 years later they talk of the experience as if it had happened yesterday, with vivid recall of events and recurring images of natural upheaval — torrent, hurricane, tsunami — to describe the impact on their lives.

Less closely involved students, the ones who knew Mr. Rostropovich only through master classes in the West, tend to describe his influence on them in technical terms. Mr. Ma talks of “the will to make a phrase last”; Mr. Kirshbaum of “the plasticity of a left hand moving so fast it encompassed new levels of difficulty”; and Mr. Demenga of “a bowing arm so agile it was like a snake, the bow a natural continuance of the arm, flesh melting into wood.”

But for those who were with him in Russia in the ’60s the memories are more emotional, overwhelmed by the huge, driven, scrutinizing personality that swept them up and left them reeling.

“Such power, such intensity,” Ms. Gutman said. “He could look at a person and see so clearly what was hidden within. It was the genius to awaken genius in others.”

For Mr. Maisky it was a question of attitude: “He taught us to remember that the cello, or any other instrument, is only what that word implies: an instrument to reach the ultimate goal of music, not the other way round. Musicians are under such pressure to succeed — to play louder, faster, more brilliant — that the music becomes a way of showing how wonderfully you play. This, for Rostropovich, was wrong. What matters is generosity of spirit, to open your heart. And his spirit was so great, his heart so open, this is what he gave us in his classes.”

Not that they were easy. All of his students talk of being required to learn a concerto in two days or to come back and play the Bach cello suites from memory in a week. No excuses.

“Let’s be honest,” Ms. Georgian said. “We were quite afraid of him. For the first two years I was terrified. It’s strange to look now at the photos taken at those classes and realize that he was a relatively young man, still in his 30s. To us he was a god. We hung on his every word, and it wasn’t always kind. I never forget him saying to me when I played Brahms in his class, ‘You haven’t cried enough tears in your life to play this music.’ Actually he was right. I hadn’t. But I learned.”

For Mr. Maisky the price of attending Class 19 turned out to be more than just tears. It was one and a half years in a labor camp, resulting from his habit of taping everything Rostropovich said.

“The class was so incredible, and he worked at such speed, it was impossible to absorb,” Mr. Maisky said. “So for years I took along an old secondhand tape recorder, and eventually I needed to replace it. But these things were hard to get: only from the special shop with special certificates.”

Getting the certificates involved a black-market currency deal for which Mr. Maisky was arrested and put on trial. “The whole thing was a setup,” he said. “They’d been watching me because my sister had emigrated to Israel, and they expected me to do the same. It was their revenge. But one and a half years was lucky. I could have got eight.”

Whether Mr. Rostropovich was instrumental in getting the sentence reduced is not clear. Mr. Maisky thinks not. “Because this was 1970,” he said, “when his influence had collapsed because of his support for Solzhenitsyn. Until then he had power. He could ring up Brezhnev. After Solzhenitsyn his power was lost, so there was nothing he could do for me, except in personal terms. In that sense he was like a father. He sent money, he maintained my spirit, so many things.”

Mr. Maisky was in a hotel in Munich when he heard of Mr. Rostropovich’s death. “It came up on the TV news, and I was devastated,” he said. “The only thing I could think to do was take my cello out and play a Bach suite. For him.”

But for all of that, did Mr. Rostropovich generate a discernible school of playing? He himself avoided talk of schools; and although he could trace a direct musical ancestry back to Karl Davidov, the founder of the so-called Russian tradition, he was by general agreement such a giant personality and such a universal figure that he outgrew any allegiance.

“It isn’t meaningful to talk of schools these days,” Ms. Georgian said. “I’m never sure what people mean when they speak of the Russian school beyond something that’s loud, Romantic and more from the heart than the head, which is not necessarily a compliment. With Rostropovich there was no school. And though we are in many ways close, there are big differences in the playing of his students, no?”

Listening to everyone in Manchester, one could hardly disagree. The hard, compacted, unadorned intensity of Ms. Gutman bore little obvious resemblance to the mellow sheen of Ms. Georgian; still less to the liquid brilliance of Mr. Maisky. Could these people really be the family they claimed to be?

“Yes, definitely,” Mr. Maisky insisted. “Different as we are, we have a shared blood transfusion that doesn’t determine how we play or present musical ideas but does affect basic quality of sound, which for Rostropovich was the most important thing.”

The Rostropovich sound is hard to put in words. Mr. Kirshbaum called it “powerful, with an inner life that sustained its intensity even at the most delicate and soft dynamic.” And regardless of the terminology, it has certainly inspired successive generations of young cellists. For Natalie Clein, one of Britain’s rising stars here last weekend, “it was the sound I searched for through my teen years: electric, incandescent, large but never forced, the sound that brought me to the cello in the first place.”

Bringing people to the cello ranks high among the legacies Mr. Rostropovich leaves behind. He raised the profile of the instrument; he raised the standard of performance. And for Ms. Georgian he single-handedly rescued the cello from its also-ran status as a solo instrument that lagged behind the violin and piano, largely because of the shortage of first-rank repertory.

It was the constant complaint of cellists that they had no Beethoven or Brahms concerto to themselves, and no Mozart at all, while pianists and violinists had so much. Mr. Rostropovich begged, pestered and bullied composers of distinction to write for him. Prokofiev, Shostakovich, Britten, Lutoslawski, Bernstein, Penderecki, Schnittke and Walton (the list runs on) obliged him with what amounts to a near-comprehensive catalog of 20th-century cello music.

Mr. Rostropovich gave the premieres of 224 new works, large and small. “And that means we cellists owe him maybe 40 percent of our current repertoire,” Mr. Ma said, “which for me is the greatest legacy of all.”

One other item on the checklist of bequests is the very fact that massed events like Manchester exist. They’re just the kind of thing Mr. Rostropovich loved and fostered. He encouraged cello clubs. He liked the camaraderie of fellow players. And in a short filmed speech made for a previous Manchester festival and poignantly replayed at this one, he commended (with his heavy Russian English) the “enormous, brilliant friendship, very rare” of cello gatherings. He even offered a reason for the friendliness of cellists: “We carry heavy instruments and suffer so much planes and trains. This makes us sympathetic people.”

Participants here offered other explanations. Ms. Clein thought it had to do with spending your life playing bass lines. “You’re supportive,” she added, “always helping someone else to shine.”

Whatever the reason, cellists manifestly do enjoy one another’s company. And if Mr. Rostropovich’s death weren’t bad enough, the participants were hit with more bad news when rumors that this year’s festival would be the last were confirmed.

“Things have their time frame,” said Mr. Kirshbaum, the director, “and the festival has grown so much it’s reaching saturation point. Back in 1987 it was meant to be a one-off. I never imagined I’d still be doing it 20 years later. And now, after 36 years of living in Britain, I’m thinking about moving my base, quite possibly back to the U.S.”

Could someone else pick up the ball? Any successor to Mr. Kirshbaum would need to have an international profile big enough to lean on friends and call in favors. And the owners of big international profiles tend not to have the time for such ventures.

What Manchester needs, clearly, is a Rostropovich. So far there are no contenders.


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
07-27-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,327
Joined on 05-28-2004

Post #: 5
Post ID: 4824
Reply to: 4395
Julian Rachlin - Pendrecki Sextett World Premiere
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"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
05-14-2008 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,327
Joined on 05-28-2004

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The Mstislav Rostropovich’s Orgy.

A couple hours ago WHRB stage own 4 days long, day and night Mstislav Rostropovich’s Orgy. The Broadcast is available on line – a phenomenal work listening… The program is more then exiting:

Saint-Saëns: Cello Concerto No. 1 in a; Sargent, Philharmonia Orchestra (Testament)
Rostropovich: Moderato and Vivace; Honigberg (Albany)
Miaskovsky: Cello Concerto, Op. 66; Sargent, Philharmonia Orchestra (EMI)
Faure: “Après un rêve,” Op. 7, No. 1; Dedyukhin (Urania)Ravel: Habanera; Dedyukhin (Urania)
Chopin: Etude, Op. 25, No. 7 in c-sharp; N. Walter (Urania)Debussy: Ministrels; Dedyukhin (Urania)
Debussy: Clair de lune; Dedyukhin (Urania)
Schumann: Cello Concerto in a, Op. 129; Samosud, Symphony
Orchestra of the Moscow State Philharmonic (Melodiya)
Haydn: Piano Trio No. 19, Hob.XV:19, in g; Gilels, Kogan (Meloiya)
Dvorak: Cello Concerto in b, Op. 104; Rostropovich, Talich,Czech Philharmonic Orchestra (Supraphon)
Shaporin: Scherzo, Op. 25, No. 5; Aminatyeva (EMI)
Paganini: Moto perpetuo, Op. 11; Yampolski (DG)
Sinding: Presto from Suite im alten, Op. 10 (EMI)
Popper: Elfentanz, Op. 39; Dedyukhin (Urania)
Strauss: Don Quixote; Rozhdestvensky, London Symphony Orchestra (Intaglio)
Bach: Suite No. 5 in c (Brilliant Classics)
Elgar: Cello Concerto in e, Op. 85; Rakhlin, Moscow
Philharmonic Orchestra (Revelation)
Shostakovich: Cello Sonata, Op. 40; Richter (Melodiya)
Shostakovich: Cello Sonata, Op. 40 (Finale only); Shostakovich (Monitor)
Glazounov: Melody for Cello and Orchestra; Anosov, State Radio Orchestra of the U.S.S.R. (Westminster)
Handel: Aria, “Vouchsafe, O Lord”; N. Walter (DG)
Schumann: Kinderszenen: Traumerei; Yampolski (Urania)
Handel: Larghetto from Sonata, HWV 371 in D; Dedyukhin (EMI)
Shaporin: Elegy; Yampolski (EMI)
Shostakovich: Cello Concerto No. 1 in E-flat, Op. 107; Kondrashin, Czech Philharmonic Orchestra (Intaglio)
Borodin: Excerpts from Prince Igor; N. Walter (DG)
Prokofiev: Adagio from Cinderella; Dedyukhin (DG)
Stravinsky: Parasha’s Aria, from Mavra, transc. Stravinsky; Dedyukhin (EMI)
Scriabin: Etude, Op. 8, No. 11, transc. Piatigorsky; Yampolski (EMI)
Rachmaninov: Vocalise, Op. 34 No. 14; Dedyukhin (Uraniaz
Shostakovich: Cello Concerto No. 2, Op. 126; Rozhdestvensky,London Symphony Orchestra (Intaglio)
Prokofiev: Cello Sonata in C, Op. 119; Richter (Monitor)
Glazounov: Chant du Menestrel, Op. 71; Kondrashin, MoscowYouth Symphony Orchestra (DG)
Schumann: Fünf Stücke im Volkston, Op. 102, Movements 1, 3,and 4; Yampolski (DG)
Shaporin:Romance: I see you,transc.Kubatsky;Yampolski (EMI)
Stravinsky: Variation and Coda; Dedyukhin (EMI)
Prokofiev: Sinfonia Concertante for Cello and Orchestra in e,Op. 125; Sargent, Royal Philharmonic Orchestra (Seraphim)
Strauss, R.: An einsamer Quelle, from Stimmungsbilder, Op. 9;Yampolski (DG)
Dvorak: Silent Woods; Rostropovich, Yampolski (EMI)
de Falla: Ritual Fire Dance, from El Amor Brujo, transc.Piatigorsky; Dedyukhin (EMI)
Granados: Intermezzo from “Goyescas”; Dedyukhin (Urania)
Rachmaninov: Oriental Dance, Op. 2 No. 2; Yampolski (Urania)
Prokofiev: Concertino for Cello and Orchestra in g, Op. 132(compl. Rostropovich, orch. Kabalevsky); Rozhdestvensky,London Symphony Orchestra (Intaglio)
Miaskovsky: Cello Sonata No. 2, Op. 81; Dedyukhin (EMI)
Beethoven: Serenade for String Trio in D, Op. 8; (Marcia)
Mutter, Giuranna (DG)
Schnittke: Trio for Violin, Cello, and Piano; Lubotsky, I.Schnittke (Sony)
Tchaikovsky: Piano Trio in a, Op. 50; (Pezzo Elegiaco)Horowitz, Stern (Sony)
Shostakovich: Seven Romances, Op. 127; Vishnevskaya,
Oistrakh, Vainberg (Melodiya)
Schubert: String Quintet in C, Op. 163, D. 956; (Adagio)
Emerson Quartet (DG)
Villa-Lobos: Preludio (Modhina) from Bachianas Brasileiras No.1; unnamed cellist ensemble (EMI)
Khachaturian: Concerto-Rhapsody; Hurst, London Symphony Orchestra (BBC)
Tchaikovsky, B.: Suite for Solo Cello (EMI)
Vainberg: Cello Concerto in c, Op. 43; Rozhdestvensky, USSR
Symphony Orchestra (Russian Disc)
Kabalevsky: Cello Sonata, Op. 71; Kabalevsky (EMI)
Khrennikov: Cello Concerto in c, Op. 13; Rozhdestvensky, U.S.S.R. Radio Orchestra (Russian Disc)
Khachaturian: Cello Sonata; Khachaturian (EMI)
Vlasov: Cello Concerto No. 1 in C; Rozhdestvensky, USSR
Symphony Orchestra (Russian Disc)
Tchaikovsky: Variations on a Rococo Theme for Cello and Orchestra, Op. 33; Rostropovich, Karajan, Berlin Philharmonic Orchestra (DG)
Glazunov: Concerto Ballata; Svetlanov, USSR State SymphonyOrchestra (EMI)
Glinka: Song, “The lark”; Vishnevskaya (DG)
Tchaikovsky: Songs, “Why?”, Op. 6 No. 5, “Amid the din of theball,” Op. 38, No. 3, “Again, as before, alone”, Op. 73 No. 6; Vishnevskaya (EMI)
Prokofiev: Songs from Russian Folksongs, Op. 104, “The Dream,” and “The Monk,”; Vishnevskaya (EMI)
Bach: Suite No. 3 in C (EMI)
Bach: Suite No. 5 in c (EMI)
Schubert: Arpeggione Sonata, D. 821; Britten (London)
Bridge: Cello Sonata H. 125; Dedyukhin (Brilliant Classics)
Britten: Sonata for Cello and Piano in C, Op. 65; Britten (London)
Britten: Cello Symphony; Rakhlin, Moscow Philharmonic Orchestra (Revelation)
Britten: Suite No. 1 for Solo Cello, Op. 72 (EMI)
Haydn: Cello Concerto No. 1 in C, Hob. VIIb:1; Britten, English Chamber Orchestra (London)
Lutoslawski: Cello Concerto; Lutoslawski, Orchestre de Paris
Penderecki: Cello Concerto No. 2; Penderecki, Philharmonia Orchestra (Erato)
Panufnik: Cello Concerto; Wolff, London Symphony (NMC)
Beethoven: Cello Sonata No. 3 in A, Op. 69; Richter (Philips)
Milhaud:Cello Concerto No.1;Nagano,London Symphony(Erato)
Honegger: Cello Concerto; Nagano, London Symphony (Erato)
Dutilleux: Cello Concerto, “Tout un monde lointain”; Baudo,Orchestre de Paris (EMI)
Debussy: Cello Sonata No. 1 in d; Britten (London)
Schnittke: Cello Concerto No. 2; Ozawa, London SymphonyOrchestra (Sony)
Schnittke: Cello Sonata No. 2; Uriash (EMI)
Boccherini: Cello Concerto No. 2 in D, G. 479; Sacher, Zurich Collegium Musicum (DG)
Tartini: Cello Concerto in D; Wolff, St. Paul Chamber Orchestra (Teldec)
Vivaldi: Cello Concerto in d, RV 406; Wolff, St. Paul Chamber Orchestra (Teldec)
Bach: Suite No. 2 in d, “Sorrow and intensity” (EMI)
Bach: Suite No. 4 in E-flat, “Majesty and opacity” (EMI)
Dutilleux: Timbres, Espace, Mouvement; Orchestre National deFrance (Erato)
Schnittke: In Memoriam... for Orchestra; London Symphony Orchestra (Sony)
Prokofiev: Symphony No. 4, Op. 112 (revised version);
Orchestre National de France (Erato)
Shostakovich: Lady Macbeth of Mtsensk District, excerpts,Scene 3 and 9; Vishnevskaya, Opera Chorus, London Philharmonic Orchestra (Erato)
Tchaikovsky: Yevgeny Onegin, Letter Scene; Vishnevskaya, Bolshoi Theater Chorus and Orchestra (Chant du Monde)
Tchaikovsky: Queen of Spades, Liza’s Arioso, National de France (DG)
Prokofiev: War and Peace, excerpts; Vishnevskaya, National de France (Erato)
Mussorgsky: Song, “The Field-Marshal” from Songs and Dances of Death (orch. Shostakovich); Vishnevskaya, London Philharmonic Orchestra (EMI)
Beethoven: Piano Trio No. 6 in B-flat, Op. 97, “Archduke”; Gilels, Kogan (Mon)
Bach, J. S.: Suite for Cello Solo No. 6 in D, S. 1012 (EMI)
Elgar: Cello Concerto in e, Op. 85; Rozhdestvensky, London Symphony Orchestra (Intaglio)
Rachmaninoff: Sonata for Cello and Piano in g, Op. 19; Dedyukhin (DG)
Shostakovich: Concerto for Cello and Orchestra No. 1 in E-flat, Op. 107; Ormandy, Philadelphia Orchestra (Sony)
Haydn: Cello Concerto No. 2 in D, Hob. VIIb:2; Academy of St. Martin-in-the-Fields (Angel LP)
Britten: Suite No. 2 for Solo Cello, Op. 80 (EMI)
Shostakovich: Piano Trio No. 2 in e, Op. 67; Serebryakov, Vaiman (Melodiya)
Rachmaninov: Songs, “The Night is mournful,” “Oh, never sing to me again,” “Music,” and “Spring Waters”; Vishnevskaya, Rostropovich (DG)
Tchaikovsky: Symphony No. 6 in b, Op. 74, “Pathétique”; National Symphony Orchestra (live concert recording) (Sony)
Schubert: Improvisation in G, Op. 90, transc. Heifetz/ Rostropovich; Yampolski (Urania)
Milhaud: Tijuca, from Saudades do Brasil, Op. 67, transc.Rostropovich; Dedyukhin (EMI)
Stravinsky: Pas De Deux, from Le Baiser de la fée, transc.Rostropovich; Dedyukhin (EMI)
Prokofiev: Waltz-Coda from Cinderella, transc. Rostropovich;Zybtsev (EMI)
Prokofiev: March from The Love for Three Oranges, transc.Rostropovich; Zybtsev (EMI)
Rostropovich: Humoresque, Op. 5; Dedyukhin (Brilliant Classics)
Dvorak: Cello Concerto in b, Op. 104; Boult, Royal Philharmonic Orchestra (Testament)
Bach, J. S.: Suite for Cello Solo No. 1 in G, S. 1007 (EMI)

Music written for Rostropovich but not recorded by him.

Britten: Tema “SACHER”; Lloyd-Weber (ASV)
Lutoslawski: Sacher Variations; Honigberg (Albany)
Dutilleux: 3 Strophes sur le nom de SACHER; Mørk (Virgin)
Ginastera: Puneña No. 2, Op. 45, “Hommage À Paul Sacher”;
Honigberg (Albany)
Boulez: Messagesquisse for Seven Celli; Barenboim, members of l’Orchestre de Paris (Erato)
Vainberg: Sonata for Solo Cello, Op. 72; Honigberg (Albany


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
05-15-2008 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,327
Joined on 05-28-2004

Post #: 7
Post ID: 7403
Reply to: 7397
The amplitude of consciousness

I need to make a warning that this is the very first post in my entire live when I post being drunk, absolutely drunk. I am so drunk that I fondly see this fucking monitor.  I do not drink. I mean I do not drink all together- I do not like alcohol taste and I do not appreciate the effect, I do not take any drugs and I ID do not take any alcohol – juts do not do it. Sometimes I drink to support a company but only to please other – I personally have no interests or inters of dirking – unless it is very expensive and very special red wine that cost well over $500 per battle – still I mostly smell it and have no particular interest in drinking.

Anyhow, I am drunk like very rarely before and I am very many hours through the Rostropovich’s Orgy. This time Rostropovich got me. He is a great cellist but to have him for many hours and many days really max me out. It was not just Rostropovich. A few days before the WHRB begun to broadcast the Rostropovich’s orgy I was baking in. A few days ago I saw on HBO a film the “Breakdown Palace”. It is a US-made, B-movie about a friendship but it delivers an incredible bite at so many melevels, so strong that I was kicked out of control for a few days. Then, the Rostropovich’s Orgy kicked in…

It is hard you imagine to you what the WHRB’s Rostropovich, the TU-1X tuner, the Melquiades and Macondo do all together – it hardly has any explanation in audio awareness. But this time, beeing alredy buttered up by the “Breakdown Palace”, after many hours of Rostropovich, I heard the Rostropovich like I never heard him before. I even took off a few hours out of my $100-per-hour consulting life juts not to miss the  few Rostropovich’s tunes… Listing the Rostropovich I was crying a half of the day – Rostropovich really did it this time. I have no idea what was not I do really care. Was it the shocking Rostropovich play via my playback? Was it Alice Marano dieing in Thailand prison for the rights to exercise the strength and opportunity (!!!) of own character - something that I did not do what it was my chance.  Or was it my killed by my inactions my best friend from my childhood remind me of my guilt via the Rostropovich’s play? Anyhow, this time it all come together: the Rostropovich, the playback, the Alice in Thailand and the grave of Pavel back in Odessa-city….

What can I do this - is my live… Somehow I got drunk, I bought a bottle this Scotch not to drink -I got it  to fill the cables to  make them to sound better but now I ma getting it internally… Yes, the Macondo sound like never before…  So what?

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
05-16-2008 Post does not mapped to Knowledge Tree
Ronnie
Stockholm
Posts 81
Joined on 06-30-2005

Post #: 8
Post ID: 7408
Reply to: 7403
So what
An apple juice toast for you, Romy! I wish you a bright, content loaded present and future.
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