Podcasts about irina nuzova

Cellist Wendy Warner and pianist Irina Nuzova play Beethoven's arrangement of a Mozart aria. Ludwig van Beethoven: Variations on “Bei Männern, welche Liebe fühlen”, from Mozart’s “Magic Flute”

Works for cello and piano by Brahms performed by Wendy Warner, cello and Irina Nuzova, piano on September 28, 2014.Brahms: Sapphische Ode, Op. 94, No. 4 arranged by David GeringasBrahms: Lerchengesang (Lark Song) arranged by Zuill BaileyBrahms: Sonata for Cello and Piano No. 2 in F Major, Op. 99In September 2014, cellist Wendy Warner played a recital at the Gardner Museum, joined by pianist Irina Nuzova. The program had a distinct focus on Brahms, and on this podcast, we’ll feature three of the Brahms works.First come two arrangements for cello of Brahms lieder. First is the languidly beautiful “Sapphische Ode,” a love song. The second song we’ll hear is “Lerchengesang,” the Song of the Lark. This is another of Brahms’ love songs, a remarkably sweet, tender melody, about hearing a lark’s song and being reminded of a special spring moment long ago.Then, we get to the meat of the program: Brahms’ Sonata for cello and piano No. 2, in F Major. The piece opens with an exuberant first movement, with tremolos in the piano and soaring melodies in the cello.The subsequent movements of the sonata explore a variety of different keys, harmonies, techniques, and moods. The slow movement starts curiously, with the piano voicing the main theme while the cellist plucks along, pizzicato. The final allegro is a quick, light romp, perhaps a somewhat abrupt ending to such a major piece, but one that cleverly leaves the listener wanting more.

Work for cello and piano performed by Wendy Warner and Irina Nuzova on February 26, 2012. Work for string quartet performed by Borromeo String Quartet on January 30, 2011.Beethoven: Variations in E-flat Major, WoO 46 on Mozart's "Bei Mannern welche Liebe fühlen" from The Magic FluteBeethoven: Quartet No. 8 in E minor, Op. 59, No. 2“A great composer doesn’t imitate; he steals.” You may have heard this quote—or some version of it—attributed to Stravinsky, and though the sources are a bit sketchy, it’s one of those lines that has stuck. It’s funny, and surprising—which is surely part of the appeal—but it also has a bit of the ring of truth.On this podcast, we’ll hear a couple “stolen” tunes as reinvented by Beethoven.We begin with the variations for cello and piano on Mozart’s aria “Bei Maennern,” from The Magic Flute. The original tune is a charming duet between the opera’s heroine, Pamina, and the comic lead, Papageno, about the blissful rewards of married life. The piece is performed by cellist Wendy Warner and pianist Irina Nuzova.The borrowed tune in the work that follows—Beethoven’s string quartet No. 8 in E Minor, the second of the “Razumovsky” quartets—is a Russian theme, in honor of the count to whom they were dedicated. In this particular quartet, a well-known tune crops up in the third movement, one that was also used by both Mussorgsky and Rachmaninoff in their works. We’ll hear the Borromeo String Quartet perform the piece.

Continuing with WFMT’s monthly theme of Russia, this week’s show comprises all 4 Prokofiev works recorded on Cedille plus “encores” by his colleagues Mieczslaw Weinberg and Aram Khachaturian. Performances are by pianist Easley Blackwood, cellist Wendy Warner and pianist Irina Nuzova, soprano Patrice Michaels and pianist Deborah Sobol, the Pacifica Quartet, and pianist Dmitry Paperno. Playlist for June 19, 2013 Prokofiev on Cedille SERGEI PROKOFIEV (1891–1953) Sarcasms, Op. 17 (1914) (10:45) I. Tempestoso II. Allegro rubato III. Allegro precipitato IV. Smanioso V. Precipitosissimo From Radical Piano Cedille Records CDR 90000 027 (Tracks 1–5) Easley Blackwood, piano SERGEI PROKOFIEV Adagio from Ten Pieces from Cinderella, Op. 97b (3:51) From Russian Music for Cello & Piano Cedille Records CDR 90000 120 (Track 6) Wendy Warner, cello Irina Nuzova, piano SERGEI PROKOFIEV The bush on the hill, Op. 104, No. 3 From Songs of the Romantic Age Cedille Records CDR 90000 019 (Track 18) Patrice Michaels, soprano Deborah Sobol, piano SERGEI PROKOFIEV String Quartet No. 2 in F major, Op. 92 (22:09) I. Allegro sostenuto II. Adagio III. Allegro—Andante molto—Allegro I From The Soviet Experience: Volume II Cedille Records CDR 90000 130 (Disc 2 tracks 6–8) Pacifica Quartet MIECZYSLAW WEINBERG (1919–1996) String Quartet No. 6 in E minor, op. 35 II. Presto agitato (2:30) From The Soviet Experience: Volume III Cedille Records CDR 90000 138 (Disc 2 track 4) Pacifica Quartet ARAM KHACHATURIAN (1903–1978) Toccata (4:20) From Dmitry Paperno: Uncommon Encores Cedille Records CDR 90000 007 (Track 14) Dmitry Paperno, piano

Continuing with WFMT’s monthly theme of Russia, this week’s show features two late masterpieces by one of the three great Russian Soviet composers, and the only one to come of age during the pre-revolutionary era of Tchaikovsky and Rimsky-Korsakov: Nicolai Yakolevich Miaskovsky (1881-1950). We’ll hear his Second Cello Sonata performed by cellist Wendy Warner and pianist Irina Nuzova, and his last string quartet played by the Pacifica Quartet. Subscribe to the Cedille Email List to receive one free music track from each week's show!   Playlist for June 12, 2013 Miaskovsky on Cedille NIKOLAI MIASKOVSKY (1881–1950) Sonata No. 2 in A minor for Cello and Piano, Op. 81 (23:11) I. Allegro moderato II. Andante cantabile III. Allegro con spirito From Russian Music for Cello & Piano Cedille Records CDR 90000 120 (Tracks 1–3) Wendy Warner, cello Irina Nuzova, piano NIKOLAI MIASKOVSKY String Quartet No. 13 in A minor, Op. 86 (25:36) I. Moderato II. Presto fantastico III. Andante con moto e molto cantabile IV. Molto vivo, energico From The Soviet Experience: Volume I Cedille Records CDR 90000 127 (Disc 2 tracks 9–12) Pacifica Quartet

Works for cello and piano performed by cellist Wendy Warner and pianist Irina Nuzova.Beethoven: Cello Sonata No. 2 in G minor, Op. 5, No. 2Beethoven: Cello Sonata No. 1 in F Major, Op. 5, No. 1On today’s podcast, we’ll hear not just Beethoven’s first cello sonatas, but indeed (it is widely agreed) the very first cello sonatas ever written.Beethoven’s first and second sonatas for cello and piano constitute his opus 5, an early work. We’ll hear the sonatas in reverse order: starting with the second, and concluding with the first. The two were written and premiered right around the same time, so the distinction is somewhat arbitrary; both very much inhabit the same musical universe.Beethoven himself was at the piano for the premiere of the piece at the royal court in Berlin in 1796. The sonatas were dedicated to King Friedrich II, an enthusiastic amateur cellist for whom Mozart and Haydn has also written quartets. Still, Beethoven clearly gives the piano pride of place in these sonatas. When he premiered the pieces, he would have very much wanted to impress the court as not only a gifted composer but also as a virtuosic pianist. When Beethoven wrote the sonatas, at the age of 25, he was in the midst of his first and---as it would happen---only major tour as a pianist, with stops in Prague, Leipzig, and Dresden. The explosive scales and arpeggios from the piano that characterize the finales of both sonatas were no doubt designed to show off his abilities.We’ll hear both sonatas as played by the cellist Wendy Warner, a student of the great Rostropovich, and the Russian pianist Irina Nuzova. First, the second sonata, in G minor, followed by the Sonata in F Major.