Concert dedicated to Sergey Prokofiev’s 125th Anniversary

Events
// 08.12.2016

Hudson Soirees

Concert dedicated to
Sergey Prokofiev’s 125th Anniversary

Sunday, December 11, 2016
12:00 p.m.

Program
All- Prokofiev program
(1891- 1953)

March from the opera “The Love for Three Oranges”, Op.33
Anton Everts, Ariel Gurevich
Piano Sonata No.2 in D minor, Op. 14,  ( Allegro, ma non troppo- Piu  mosso- Tempo primo )
Ariel Gurevich
Poems:
1. Z Gippius poem- The Little Grey Dress ( Серое платьице ), Op. 23
2. K. Balmont- The Butterfly (Бабочка), Op. 36
Olga Zhuravel Maselli , soprano
Irina Nuzova , piano

Visions fugities, Op.22
10. Ridicolosamente
12. Assai moderato
14. Feroce
Claudius Betz, piano
Poems, Op. 27, A. Akhmatova (1889- 1966)
The Sun has Filled my Room (Солнце комнату наполнило)
True Tenderness ( Hастоящую нежность)
Memory of the Sun (Память о солнце)
Greetings  ( Здравствуй )
The King with Grey Eyes ( Сероглазый король)

Violin  Sonata No.2 in  D major, Op. 94
Moderato
Presto- Poco piu mosso del- Tempo primo
Andante
Allegro con brio- Poco meno mosso –Allegro con brio
Dmitri Berlinsky, violin
Irina Nuzova, piano

PROGRAM NOTES AND VOCAL TEXTS

Young Sergey Prokofiev was attracted to contemporary Russian poets, notably at first Konstantin Balmont , a leader of the “Simbolist” movement. Balmont’s poems Prokofiev once wrote, “had a musical quality that appealed to me profoundly”.

“To the Child of the Gods. To Prokofiev”- Konstantin Balmont

You are rich of Sun. You drink the sunset like honey.

Your wine is dawn. Your harmonies in chorus

In hurried conversation rush to take in

The indistinct aroma of dreaming flowers.

You are happy suddenly to rain down night in golden stream,

The scattered dawns are somewhere in the distance,

Like a string of pearls, and in their quarrel of lights

The darkening garden grows with a menacing rumble.

And you, forgetting yourself, but retaining the lights

Of the feather-grass of the steppe raised by the spring

In the flickering of a dream, always new, always different –

You played question and answer with a blade of grass,

And having dropped singing signs into your sound,
At night you play a ball with the silver Moon.

The Butterfly- K.Balmont

A yellow- winged butterfly,

Familiar since childhood

Fluttered on the wind and settled on a poppy.

With its feelers it said:

“Look, this is my home

With my wings I send you a friendly greeting.”

Nodding, It folded its patterned wings,

And drifted into a dream in the hot sunlight.

Oh, how long are the dark human nights

How painful the soul pierced by a sward.

A Gray Dress- Z.Gippius

A girl in a grey dress, with plaits resembling cotton… Whose girl are you?
Mummy’s..or nobody’s. Do you want me to be your’s?
Do you believe in caresses, girl?Let me see your eyes!
They are blank- just like Mummy;s
And what are you playing with? What are you hiding from me?
No time to play, I am busy- tering bead strings, drying first sprouts, cutting books, breaking bird’s wings…
What’s your name blank- eyed girl?
They call me many names. Some call me Separation, some call me Hostility or Doubt, Boredom or Torture…and Mummy Deth calls me Parting- me, the girl in a grey dress…

The song cycle , Op.27, was based on five poems by Anna Akhmatiova:
These poems were much simpler and more modest than the high – flown “cosmetic” verses of Balmont . But alongside warm , lyrical feelings they exhibit traces of unwholesome eroticism and gloomy sorrow. At the same time, the affected torment in Ackmativa ‘s acmeistic poetry with its motifs of death and bitter disillusionment , gave rise to somber contrasts in the music, such the eerie , almost mystical passages found in the endings of the second and forth songs and in the middle section of the third. Particularly characteristic in this respect is the last song, The Grey- Eyed King. (Welcome art thou , unappeasable pain”), which is tinged with tones of resignation and submissiveness in the face of death. Thus, despite Prokofiev’s tendency toward bright, sunny, and human lyricism, this music ro Akhmatova’s poetry is permeated with the morbid characteristics of decadent  art.
1.Sunlight filled the room 2. Real tenderness can’t be confused
Shot through with yellow dust. With anything, and it is silent.
I woke up and remembered: You carefully muffle your passion in vain:
Today’s your birthday! My shoulders are bosom thrill.
And in vain do you utter
Far beyond the windows Submissive words of first love.
The warmed snow gleamed, How I know these obstinate,
That’s why I slept dreamlessly, Unsatisfied looks of yours!
Like a penitent.

3. Thoughts of the sunlight get dimmer and fainter,
And parched the grass.
Breezes fresh breezes at dawn’s early shimmer,
Flit by, repass.
Look at the willows fanning out against a clear heaven,
Cloudless and wide.
Better, far better not to be given
Thee for the bride!

Thoughts of the daylight get dimmer and fainter.
What is this? Dark already? Can it be?
After night, the Winter will be here.
4.Greetings! 5. The grey eyed king
Can you hear the quiet footstep Welcome art thou, unappeasable pain!
To the right of the table? Last night my king with the grey eyes was slain.
Don’t write verses- Sultry the skies of the autumn and red ;
I’ll come instead. Home came my husband at evening and said:
Surely you haven’t taken offence “Listen, the huntsman, when cover was broke,
Just like last time: Found him, his body lay under an oak.
You say that you can’t see my hands, Woe to this princess! She loved him they say.
You can’t see my hands and eyes. Grief turned her tresses ere morning to grey.”

Whis you things are clear Surely, he lifted his pipe from the shelf,
And simple. Went to his night work and left myself.
Don’t chase me away to where, Daughter of mine , I will wake thee and say:
Under the stifling arch to the bridge, Bright little eyes that are trustful and grey.
Dirty water has frozen over. Why should I heed what the poplar trees sing-
“ Nowhere on earth are the eyes of my King.”

From the very first steps that Sergei Prokofiev took on his swift and bold ascent to the musical Olympus his name was associated with a succession of sun-filled, solar nicknames and analogies: “sun artist”, “the sun bogatyr”, “Scythian of the sun”.

And it so happens that Prokofiev had a certain relationship of his own with the sun. Since a tender age and subsequently for many years Prokofiev kept a special notebook which he entitled “The Wooden Book”. Both he and his friends would write down in it all manner of expressions referring to the sun.

And here is the first of the quotes. From one great to another… Poet Vladimir Mayakovsky:

From you, wallowing in your lovesick idylls,

From you, dribbling tears from the beginning

Of time,

I’ll withdraw,

Sticking the Sun for eyeglass

Into my wide-open eye!

And this is an explanation pertaining to how “The Wooden Book” came into being – from Prokofiev himself: “I decided that by collecting autographs of the greats, I would end up with a truly remarkable album. But then I reflected: what if every one of these greats will curse me, as they rack their brains what to write in my album? And so I came up with this question that I would ask them: what do you think of the sun? Excellent! All the more so considering my recent particular gravitation towards it.
This book, God forbid, in no way should resemble a boarding-school student’s album. In a binding of two common wooden boards, an edging of coarse black leather, punched with common nails, and an iron clasp, that leaves your hands smelling of metal when you touch it. The contrast of outward roughness and priceless inner autographs is attractive in its poignancy. Finally, my book was ready. It was not what I had conceived, it was too elegant, a “peasant in silken stockings”, but it was original, elegant and most importantly – wooden.”

The unique autographs in the «Wooden book»:

Fyodor Chalyapin: The widest path on the sunny side and towards the sun.

Efrem Zimbalist: the sun is life.

Jose Capablanca (the acclaimed chess player… Prokofiev loved chess, and the two were friends): “The sun – is life. When we see it – we are happy. When it is concealed by clouds – a despondency steals into our hearts.”

Artur Rubinstein: I have come to better understand the sun thanks to a succession of true geniuses. The Sun-King said: “I am the state”. You, my dear Prokofiev, might just as well say: “I – am the Sun!”

SERGEY SERGEEVICH PROKOFIEV (23 April 1891- 5 March 1953)
One of the most prolific and celebrated Russian composers of the 20th century, Sergei Prokofiev is perhaps most famous for music he composed for the children’s story Peter and the Wolf. He proved his talent as a pianist and composer at a very early age, and in 1904 moved with his mother to St. Petersburg, where he studied at the St. Petersburg Conservatory. As a young man he traveled to England and Europe on tour, and in 1918 he left Russia for the United States. During the 1920s he toured New York, Chicago, London and Paris, gaining popularity with audiences, if not with critics. In 1927 he returned to perform in the Soviet Union and was greeted as a national hero. In the early 1930s he travelled between Paris and Moscow, finally settling in Moscow in 1936. A few years later, World War II marked the beginning of Prokofiev’s rocky relationship with the Soviet government of Joseph Stalin. Although he continued to be a productive composer, in the late 1940s Prokofiev fell out of favor with government officials and spent his last years in failing health and financial insecurity.
Prokofiev died on the same day as Stalin (March 3, 1953).
His works include the ballets Chout and The Love for Three Oranges, operas such as The Fiery Angel and War and Peace (based on the novel by Leo Tolstoy) and music for the Sergei Eisenstein films Alexander Nevsky (1938) and Ivan the Terrible (1942-46). Modern audiences know Prokofiev’s work primarily through the many symphonic suites he composed based on his stage and film work.

Mr, BERLINSKY arrived on the International scene as the youngest winner in the history of the Paganini International Violin Competition in Genoa, Italy. This victory led to his performance on Nicolo Paganini’s own Guarneri del Gesú instrument, a privilege shared by only a handful of artists in history. Subsequent triumphs at the Montreal International Violin Competition (Grand Prize), the International Tchaikovsky Competition and the Queen Elizabeth Competition in Brussels, led to appearances with major orchestras in Europe, Russia, the Far East, North and South America.

Mr. Berlinsky has performed in such major venues as Carnegie and Avery Fisher Halls in New York, Kennedy Center in Washington DC, Tokyo’s Suntory Hall, Great Hall of the Moscow Conservatory, Mariinsky Concert Hall, Leipzig Gewandhaus, Berlin Philharmonic Hall, Munich Herkulessaal, Palais des Beaux Arts in Brussels, Bonn Beethoven Hall, Le Place des Arts in Montreal, and Teatro Colon in Buenos Aires among others.

His extensive performance schedule has taken him to the Mostly Mozart Festival, the Prague Spring Festival, the Aspen Music Festival, the Newport Music Festival, the Settimane Musicale in Stresa, Italy, Bratislava Festival, as well as appearances at the Ambassador Foundation in Pasadena, the Fiddle Fest at Alice Tully Hall, the 92nd Street Y

Recently he performed with Lorin Maazel at the Castleton Festival, Russian National Orchestra at the Arts Square Festival in St.Petersburg, Prague Radio Symphony at the Budapest Spring Festival, Orchestra de Chambre Français in New York, Russian Chamber Philharmonic on European Tour, Directed and performed with “International Chambers Soloists” at the Fontana Arts Festival, San Francisco Conservatory, New York, Los Angeles, Toronto. He gave recital in US, Taiwan, Korea, England, Italy, Mexico, and Brazil.

Recent highlights include performances with the London Philharmonic, St. Petersburg Philharmonic, Sinfonia Toronto, Montreal Symphony, New York Chamber Symphony, Leipzig Radio Orchestra,  Belgian National Orchestra, Quebec, Utah, Virginia, Kalamazoo, Miami, San Antonio, and West Virginia Symphonies, Seoul Philharmonic, New Jersey Philharmonic,  Staatsphilharmonie Rheinland-Pfalz, Weimar Staatskapelle, Berlin Staatskapelle, Gent Opera Orchestra, Orchestra Sinfonia Siciliana, UNAM Symphony in Mexico City,  I Musici de Montreal in Canada and the United States, South American tour with the Prague Chamber Orchestra,as well as appearances at the Casals Festival in Puerto Rico and festivals in Italy, Belgium, Germany, Scandinavia, Taiwan and Costa Rica.

His playing was featured in Emmy-Award documentary “Life on Jupiter” and “New York Canvas”.

In high demand as a teacher Mr.Berlinsky has tought and given Master Classes in Europe, Asia, Canada and in US at the Chautaqua Festival, Summit Music Festival in New York, Festival Internacional de Campos do Jordão in Brazil, International Academy of Music in Italy, Music in the Mountains Colorado, Schlern Festival, Instrumenta Verano in Mexico, University of South California in Los Angeles, Eastman School of Music, Menuhin School, Manhattan School, Temple University in Philhadelphia, DePaul and Roosevelt University in Chicago, Western Michigan University, Weber University in Utah,  and UNT in Texas.

Mr.Berlinsky is the founder of the chamber orchestra “International Chamber Soloists” and Artistic Director of “Southampton Arts Festival” in Long Island, New York.

Mr.Berlinsky has been recipient of many awards including SONY, Juilliard, YCA and Bagby Foundations.
For several years he played on famous “Yusupov” Stradivarious- the same instument David Oistrakh and Leonid Kogan played.

OLGA ZHURAVEL MASELLI was born in the Ukraine and now a resident of the United States, Olga has been performing until recently almost exclusively in Italy, appearing as Tosca with the Rome Opera, Turandot (“…[she has] the physical appearance of an irresistible femme fatal…[and her] voice is ravishing.”) at the Sferisterio Opera Festival in Macerata, and The Duchess of Argyll in Thomas Ades’ Powder Her Face at La Fenice in Venice and at the Teatro Comunale in Bologna. This past May, Olga brought her unforgettable Duchess to the Teatro Arriaga in Bilbao, Spain, in a production presented in association with the Royal Opera House, Covent Garden.

Olga has amassed an impressive scope of repertoire from roles in her native Russian such as Tatiana in Eugene Onegin, in Italian such as Manon Lescaut, the aforementioned Turandot, which is rapidly becoming her signature role, both Verdi Amelia’s (Ballo and Boccanegro), and the Contessa (Figaro), and in German such as Elsa in Lohengrin to name but a few of her impressive portrayals. Additionally, she has demonstrated great command of contemporary opera in English, singing principle roles in Henze’s Elegy for Young Lovers, and Maselli’s Draculette as well as Ades’ Powder Her Face.

Among Olga’s many successes are her performances under conductor Daniele Callegari with director Pier Luigi Pizzi as Lady Macbeth in Macerata; under conductor Daniel Oren with director Gilbert Deflo as Manon Lescaut in Genoa; and under conductor/director Gianluigi Gelmetti at the Rome Opera as Sakùntala in the opera La leggenda di Sakùntala by Alfano.

Olga is active on the concert stage as well where her performances have included Beethoven’s Ninth Symphony, Verdi’s Messa da Requiem, Wagner’s Wesendonck Lieder, and Richard Strauss’ Vier letzte Lieder. Her performance of Lady Macbeth in Macerata was released on DVD by Naxos and on CD. Recently she has been active in the recording studio where she has completed CDs of the JKF Requiem, Draculette, and Fall Songs by composer William Maselli, who also happens to be her husband and father of her two adorable children. Next up for Olga is a contemporary song recital to be held this coming October at Carnegie Hall’s Weill Concert Hall.

IRINA NUZOVA  “Pianist Irina Nuzova turned in an utterly beguiling performance…” (The Washington Post), “intensity of feeling” (La Nazione, Italy) and “profound interpretation” (Il Resto del Carlino, Bologna).
Irina Nuzova has appeared in recital as a soloist and as a chamber musician in the United States, Europe, and South America. In Europe, she has performed in the Amici della Musica concert series in Florence, at the Teatro Massima in Catania, Italy; the Hermitage State Museum in St. Petersburg; the Moscow Conservatory, and in the Netherlands. In the United States, she appeared among others at the Phillips Collection and the National Gallery in Washington D.C., Carnegie Hall’s Weill Recital Hall, the Kosciuszko Foundation in New York, the Brooklyn Public Library; and in chamber music recitals at the Rhode Island Chamber Music Concert Series and at the Shandelee Music Festival. With cellist Wendy Warner, Nuzova formed the WarnerNuzova duo which performs nationwide, among others at the St. Paul’s Music in the Park Series and the Gardner Museum in Boston. Ms. Nuzova has also appeared in live radio interviews and performances in Boston, Chicago (WFMT), Philadelphia, and Washington DC; and an interview with Fred Child in Performance Today — a program that was syndicated nationwide.
She has collaborated with musicians such as Sophie Shao, Wendy Warner, Julie Albers, Calefax Reed Quintet, Aviv and Attacca string quartets. In the spring of 2015 Ms. Nuzova performed a concert at the National Gallery of Art dedicated to Women’s History Month.
Ms. Nuzova is a native of Moscow, Russia. She made her debut with the Omsk Philharmonic at the age of 14. She studied at the Gnessin Academy of Music under the guidance of Alexander Satz before moving to the United States. Nuzova continued her musical education at the Manhattan School of Music with Lev Natochenny, and at Juilliard where her teachers were Oxana Yablonskaya and Jerome Lowenthal.  To further herself as a musician she worked in the cello studio of Harvey Shapiro at Juilliard and pursued private studies with pianists Jean-Bernard Pommier, Eteri Andjaparidze, and Vladimir Feltsman. Nuzova earned her Doctorate of Musical Arts degree from the Hartt School of Music (University of Hartford, Connecticut).
Nuzova is the recipient of the Bruce Hungerford Award at the Young Concert Artist Auditions in New York, and has won top prizes in competitions such as the Vincenzo Bellini and Citta di Senigallia International Competitions in Italy; and the Beethoven Piano Sonata International Competition in Memphis, Tennessee. As a chamber musician, she has won top prizes at the Vittorio Gui and the Premio Trio di Trieste International Chamber Music Competitions in Italy.
Ms. Nuzova regularly gives lecture recitals and Master Classes at schools and other public institutions. Together with Wendy Warner Ms. Nuzova served as a Duo-in-Residence at the Music Institute of Chicago. Ms. Nuzova recently was appointed to the piano faculty at the Special Music School in New York.
For the past two summers Nuzova has taught and performed at the Interharmony International Music Festival. She also serves regularly as a jury panelist.
Mrs. Nuzova is a member of the Camerata Phillips – an ensemble in residence at the Phillips Collection Gallery in Washington DC.

ERNST ZORIN, honored artist of Russia, Ernst Petroich Zorin graduated from the Theatre School named after B.V Shchukin. He worked in the theater of Eugine Vakhtangov from 1959 to 1980. In 1980 he emigrated from the country. He worked as an actor in theaters in New York. staged plays, the voice of Russian films,on the radio “Freeedom” in Munich, Germany, plays in the theater “Chaverim”. From  roles in theater: Prince (Cinderella, 1966 ), Rodik (Irkutsk Sor, 1959 ), Truffaldino (Princess Turandot, 1963), Manager (Millionairess, 1964 ),Sir William Ketsbi (Richard III, 1976), Kudashev (Thirteenth Chairman, 1979), Henry (Puss in Boots, 1979).Among the works in the movies: Return to Life (1971), The very last day( 1972), 12 Kilometers( 2016), Are we not Cats (2016).

CLAUDIUS  BETZ born in NYC in 2003 Claudius entered the Special Music School in Manhattan in K grade. Now a 6th grader he continues studies on the piano with Irina Nuzova. 

Claudius has been performing in various festivals such as the Summer Music Academy in Regensburg, the Modern Composer Festival in NYC,  the Summer Music Theatre in the Kaufman Center, the Chamberfest at Merkin Hall NYC or the Summer Festival of the Musikhochschule Munich.
Last summer he was participating in summer master classes near Krakow, Poland to study with Krystian Tkaczewski, the Amalfi Coast Music Festival in Italy to study with Matti Raekallio and the Rosario Marciano competition in Vienna where he won the second price in his age group.
This fall Claudius won third prize in the same age group as his older brother Oliver (17) in the International Paderewski competition in CT.

Claudius is also an avid chamber performer often with his brother or other string players. He is also a prolific writer, debater and Visual Arts and Science buff.  Due to his mixed background Claudius is fluent in Mandarin, English and German. His current goal is to become an astronaut.

ANTON EVERTS was born in New York and is brought up trilingual – he speaks Russian, Dutch, and English.
He is currently taking piano lessons with his mother, pianist Irina Nuzova, at the Kaufman Center.
He has won the first prize at the Rondo Vanguard Piano Competition and as a result performed at the Weill Recital Hall in New York. He has also appeared in Merkin Concert Hall as part of the Contemporaty Music Festival.
For the last 3 years Anton has been a successful participant of the Interharmony International Music Festival in Tuscany where he has performed solo and in piano duo.
Anton’s favorite hobbies are designing with duck tape and drawing.

ARIEL GUREVICH  has been studying piano with Irina Nuzova at the Lucy Moses School since he was 5. He has performed at Weill Hall (Carnegie Hall) and Merkin Hall, among other venues. In 2015, Ariel won 1st place at the Rondo Vanguard Competition (Piano division), 2nd place at the Concerto Competition, Young Pianist Competition of New Jersey, and an honorable mention at the Lucy Moses School Concerto Competition. This year, Ariel won 3rd place at the VII Chopin International Piano Competition in Hartford, CT. Over the past several summers, Ariel has participated in the Interharmony festival in Arcidoso, Tuscany (Italy), where he performed both solo and in chamber ensembles and participated in master classes.

Born in Cambridge, MA, Ariel grew up in New York and currently attends Hunter College High School. He is an avid reader and writes short stories. When not practicing or doing homework, Ariel loves to draw and play soccer.

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