Virtuoso Cello Showpieces

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den Spirituals stammen, die er hörte. Der erste Satz der dann wieder böhmische und amerikanische Züge, und im Sonatine verrät seinen Ursprung durch ein vornehmlich Finale hört man ständig den Nachklang der neuen Sym- pentatonisch konturiertes Thema, das nach einer Anspie- phonie und des „amerikanischen” Streichquartetts. Auch lung auf das Lied „Darling Clementine” zu hören ist. Der in ihrer Bearbeitung für Violoncello und Klavier von zweite Satz in g-moll wird vielfach als Indianische Kla- Oscar Hartwieg ist die Sonatine ein wirkungsvolles ge bezeichnet und wurde von Fritz Kreisler auch unter die- Stück. sem Titel veröffentlicht; darin verwendet Dvoﬁák ein The- ma, das ihm beim Besuch der Minnehaha Falls in den Keith Anderson Sinn gekommen war. Die erste Melodie des Scherzos hat Deutsche Fassung: Cris Prosslac VIRTUOSO CELLO SHOWPIECES

Orr • Cassadó Danzi • Dvoﬁák Castelnuovo-Tedesco

Maria Kliegel, Cello Nina Tichman, Piano

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Music for Cello and Piano: Orr • Danzi • Castelnuovo-Tedesco • Dvoˇrák und Kantate über Lieder, Opern, Konzerte und Gitarren- net. In Cassadós kurzem Stück spiegelt sich dieser legen- Buxton Orr was born in Glasgow in 1924 and was a pupil theme from Mozart’s ‘Don Giovanni’ was originally musik bis hin zu Klavierstücken. 1946 wurde er amerika- däre Schmerz des vertriebenen Monarchen. of Benjamin Frankel at the Guildhall School of Music in written for cello and orchestra. It takes as its source Don nischer Staatsbürger, und bis zu seinem Tode 1968 unter- Antonín Dvofiák war am Anfang seiner musikali- London, where he served as a professor from 1965 until Giovanni’s attempted seduction of the village girl, richtete er am damaligen Los Angeles Conservatory, wo schen Laufbahn in Prag als Bratscher tätig. Erst 1871 ver- 1990. His interest in jazz was reflected in his work as Zerlina, with his invitation ‘Là ci darem la mano’. The Henry Mancini, Jerry Goldsmith, John Williams und ließ er das Orchester, um sich mehr der Komposition zu conductor from 1970 to 1980 of the London Jazz theme is heard first, followed by a first variation in André Previn zu seinen Schülern gehörten. Seine als widmen, da seine Musik allmählich auf positive Reso- Composers’ Orchestra and he was founder of the triplets. The second variation breaks the rhythm of the „Konzerttranskription” bezeichneten Figaro-Variatio- nanz stieß. Brahms half ihm, einen größeren Markt für sei- Contemporary Music Ensemble at the Guildhall. His melody and includes passages in demi-semiquavers. The nen aus „Der Barbier von Sevilla” sind Gregor Piatigors- ne Arbeiten zu finden, indem er den jüngeren Kollegen compositions reflect various influences, and his earlier A minor variation, marked Tranquillo, leads to a return ky gewidmet. Dem Stück liegt die Kavatine Largo al seinem Verleger empfahl, und im weiteren Verlauf seiner career brought a number of film scores. A Carmen Fantasy, to A major in a version of the material in rapid demi- factotum zugrunde, mit der Figaro in seinem ersten Auf- Karriere konnte sich Dvofiák auch international einen gro- for cello and piano, was written for the cellist Robert Cohen semiquavers, before moving on to the compound metre tritt von seiner Bekanntheit singt. Mit der Hinzufügung ßen Namen machen. Seine Musik ist vom Geist Böhmens for inclusion in a New York recital in October 1985. The of the concluding section of the original duet, ‘Andiam, pikanter Harmonien verleiht Castelnuovo-Tedesco der durchtränkt – und das gilt sowohl für die offenkundig hei- work was later arranged for cello and orchestra. The andiam, mio bene’. Musik verschiedene Färbungen, während das Thema in matlich geprägten Werke wie auch für jene Schöpfungen, composer points out, in his introduction to the pieces, that Born in Florence in 1895 into a family of Sephardic unterschiedlichen Gestalten und anspruchsvoller virtuo- die in den 1890er Jahren in den USA entstanden. Jascha Heifetz had made use of Franz Waxman’s Carmen origin, Mario Castelnuovo-Tedesco was a pupil of ser Einkleidung erscheint. Eine Kadenz, in der die Worte Das Rondo g-moll für Violoncello und Orchester Fantasy as an encore piece, and Orr’s A Carmen Fantasy Ildebrando Pizzetti, to whom he owed much. In the Figaro, Figaro Figaro! widerhallen, wird bald von dem op. 94 entstand im Oktober 1893 als Arrangement eines was designed for the same purpose. It opens with a cello period between the wars he established himself as a zunehmend geschwinderen Schlussabschnitt abgelöst. fast zwei Jahre alten Duos für Violoncello und Klavier. cadenza, based on the Fate motif from Bizet’s opera, pianist, appearing as a soloist, accompanist and Der Cellist Gaspar Cassadó wurde in Barcelona gebo- Es war für den Cellisten Hanu‰ Wihan gedacht, der seit followed by a version of the Polo that served as an participant in chamber music, and as a critic for various ren. Nach erstem Unterricht bei seinem Vater kam er an 1887 als Lehrer am Prager Konservatorium wirkte und entr’acte between the third and fourth acts of the opera, a musical journals. His compositions were heard in Italy die städtische Musikschule, bevor er 1904 debütierte. Er später auch der Widmungsträger des Cellokonzertes wur- dance that Bizet had borrowed from Manuel García. and abroad, notably at the festivals of the ISCM. After ging nach Paris, wurde Schüler von Pablo Casals und de, das Dvofiák 1895 schrieb. Dvofiák und Wihan hoben Other familiar themes include Carmen’s impertinent the Italian racial legislation of 1938 and with the support betätigte sich mit seinem Vater am Klavier und seinem die Originalfassung des Rondos im März 1892 bei einem refusal to answer the interrogation by Captain Zuniga, of Heifetz, Toscanini and Albert Spalding, and with the Bruder Agustín an der Geige als Kammermusiker. Seine Konzert in Prag aus der Taufe. Es hat einem virtuosen the Habanera, Don José’s Flower Song, and the song assurance of employment, he moved to America. From internationale Karriere begann 1918. Er arbeitete mit her- Musiker viel zu bieten und spricht für Wihans technische with which Carmen lures her lover away with her to the 1940 to 1956 he worked for various film studios in vorragenden Kollegen zusammen und spielte einige Zeit Fähigkeiten. mountains. Finally the Toreador’s song appears briefly, Hollywood, contributing to some 250 productions. At im Trio mit Louis Kentner und Yehudi Menuhin. Sein Klid oder Waldesruhe ist eigentlich das fünfte der to be superseded by the Fate motif, a recurrent element in the same time he continued his own work as a Lamento de Boabdil aus dem Jahre 1931 ist Casals gewid- sechs Klavierstücke Ze ·umavy (Aus dem Böhmerwalde) the work. composer, with a series of some seventy works of all met: Der Titel und der elegische Inhalt des Stückes bezie- für Klavier zu vier Händen, die im Januar 1884 vollendet Franz Danzi served as a cellist in the famous kinds, including oratorios and cantatas, songs, operas, hen sich auf den letzten maurischen Herrscher von Gra- wurden. Dvofiák arrangierte den Satz für Violoncello und Mannheim orchestra, choosing to remain in Mannheim concertos, guitar music and compositions for the piano. nada, Mohammed XII., den die Spanier unter dem Namen Orchester – in erster Linie für eine Konzerttournee mit when the Electoral court moved to Munich in 1778. In In 1946 he had become an American citizen and until Boabdil kennen. Die Rivalitäten innerhalb der herrschen- Hanu‰ Wihan. Die Version für Violoncello und Klavier 1783, however, he took his father’s place in the Munich his death in 1968 he taught at the then Los Angeles den Familie hatten Granada erheblich geschwächt. 1482 war ebenfalls in dem erwähnten Prager Konzert zu hören. orchestra and now continued his career as a composer Conservatory, where his pupils included Henry löste Boabdil seinen Vater als Herrscher ab, doch er war Die Sonatine G-dur für Violine und Klavier op. 100 with his third German opera. Having married a singer, he Mancini, Jerry Goldsmith, John T. Williams and André mit seinem Onkel verfeindet. 1492 fiel die Stadt nach schrieb Dvofiák im November 1893 in Amerika. Er been- enjoyed an active career in opera that led to his Previn. His Figaro Variations from ‘The Barber of Belagerung an die katholischen Könige. Schmerzerfüllt dete sie zwei Wochen vor der Uraufführung seiner 9. Sym- appointment as deputy Kapellmeister in Munich in 1798. Seville’, described as A Concert Transcription, was soll Boabdil auf das besiegte Granada zurückgeschaut phonie „Aus der Neuen Welt” in New York. Auch die After his wife’s death he returned to Mannheim and in dedicated to Gregor Piatigorsky. It takes as its theme haben, worauf er von seiner Mutter gerügt wurde: „Du Sonatine ist ein charakteristisches Werk jener Zeit, in der 1807 was appointed Kapellmeister in Stuttgart, where he that of the famous Largo al factotum, the cavatina in weinst wie eine Frau über etwas, das du nicht wie ein sich der Komponist über sein Heimweh hinwegtröstete, met Weber. In 1812 he moved to Karlsruhe, where he which Figaro proclaims his fame at his first entrance. Mann zu verteidigen wusstest.” Auf diesen und ähnlichen indem er tschechische Freunde in Spillville, Iowa, was again able to stage operas by Weber. He was a The piquant harmonies introduced by Castelnuovo- Geschehnissen beruhen viele der spanischen Balladen besuchte. Derweil sublimierte er die Einflüsse der neuen prolific composer in many genres. His Variations on a Tedesco add varying colours to the work, as the theme aus der Zeit, die man als romances oder moriscos bezeich- Welt, mochten sie nun aus Longfellows Hiawatha oder

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Musik für Violoncello und Klavier appears in different guises and with various demands for the period he spent in America in the early 1890s. Orr • Danzi • Castelnuovo-Tedesco • Dvoˇrák technical virtuosity. A cadenza, echoing the words Dvofiák’s Rondo in G minor for cello and orchestra, ‘Figaro, Figaro, Figaro!’, is soon followed by a final Op. 94, was written in October 1893, an arrangement of Buxton Orr stammte aus Glasgow und war Schüler von er mit seinen Opern Karriere, was 1798 dazu führte, dass section of increasing rapidity. the earlier work for cello and piano that he had Benjamin Frankel an der Guildhall School of Music in er in München zum Stellvertretenden Kapellmeister auf- The cellist Gaspar Cassadó was born in Barcelona, completed in December 1891. It was designed for the London, wo er von 1965 bis 1990 selbst eine Professur stieg. Nachdem seine Frau gestorben war, ging Danzi wie- and had his first lessons from his father, before entering cellist Hanu‰ Wihan, who had joined the teaching staff innehatte. Sein Interesse am Jazz manifestierte sich in sei- der nach Mannheim, und 1807 wurde er Kapellmeister in the Escuela Municipal de Música, making his début as a of Prague Conservatory in 1887. It was to Wihan that ner Zusammenarbeit mit dem London Jazz Composers’ Stuttgart, wo er Carl Maria von Weber begegnete. 1812 cellist in 1904. Moving to Paris, he studied with Casals Dvofiák dedicated his Cello Concerto of 1895, and with Orchestra, das er von 1970 bis 1980 dirigierte. Orr war wandte er sich nach Karlsruhe, und auch hier konnte er and played chamber music in a trio with his father, the him that he played the original version of the Rondo in a zudem der Gründer des Ensembles für Zeitgenössische Opern von Weber auf die Bühne bringen. Als Komponist pianist, and his brother Agustín, the violinist of the Prague concert in March 1892. The work is a fine vehicle Musik an der Guildhall School. Seine Kompositionen hat er sich auf vielen Gebieten mit Fleiß betätigt. Seine ensemble. He embarked on an international career as a for a virtuoso performer, and a testimony to Wihan’s reflektieren verschiedene Einflüsse; in den früheren Jah- Variationen über ein Thema aus Mozarts „Don Giovan- cellist in 1918, collaborating with distinguished technical ability. Klid or Waldesruhe (Silent Woods) was ren schrieb er auch einige Filmmusiken. A Carmen Fan- ni” entstanden zunächst als Werk für Violoncello und colleagues and at one time playing in a trio with Louis originally the fifth of a set of six pieces for piano duet, tasy für Violoncello und Klavier entstand im Oktober Orchester. Bei dem Thema handelt es sich um Don Gio- Kentner and Yehudi Menuhin. His Lamento de Boabdil, Ze ·umavy (From the Bohemian Forest), completed in 1985 für den Cellisten Robert Cohen als Programmpunkt vannis Versuch, das Dorfmädchen Zerlina zu verführen, written in 1931 and dedicated to Casals, refers in its title January 1884. Dvofiák arranged it for cello and orchestra, eines New Yorker Recitals. Das Werk wurde später für indem er sie bittet, ihm die Hand zu reichen und ihm auf and elegiac contents to the lament of the last Moorish for the primary purpose of a concert tour with Hanu‰ Violoncello und Orchester arrangiert. In seiner Einfüh- sein Schloss zu folgen: Là ci darem la mano. Anschlie- ruler of Granada, Muhammad XII, known to the Spanish Wihan, and it was included in the Prague programme of rung weist der Komponist darauf hin, dass Jascha Heifetz ßend wird das Thema in Triolen variiert. Die zweite Ver- as Boabdil. Granada had been greatly weakened by March 1892, in a version for cello and piano. Franz Waxmans Carmen Fantasy als Zugabe benutzte änderung bricht den Rhythmus der Melodie auf und ent- rivalry among members of the ruling family. Boabdil Dvofiák wrote his Sonatina in G major, Op. 100, in und dass sein gleichnamiges eigenes Stück demselben hält Zweiunddreißigstel-Passagen. Eine Variation in replaced his father as ruler in 1482, but was at enmity America in November 1893, completing it a fortnight Zweck zugedacht sei. Die Fantasie beginnt mit einer a-moll (tranquillo) führt zu einer A-dur-Wiederholung with his uncle. Various attempts were made at a before the first performance of the Symphony ‘From the Kadenz des Violoncellos, die sich auf das Schicksalsmo- mit raschen Zweiunddreißigsteln, bevor sich das zusam- rapprochement with the armies of Castile and Aragon, New World’ in New York. The sonatina is equally tiv aus Bizets Oper stützt. Daran schließt sich eine Vari- mengesetzte Metrum anschließt, mit dem das Duett zu but finally Granada was besieged and fell to the Catholic characteristic of this period in which the composer ante des Polo an – eines Tanzes, den Bizet von Manuel Ende geht: Andiam, andiam, mio bene. Kings in 1492. Boabdil is said to have looked back in satisfied feelings of nostalgia by staying with Czech García übernommen hat und der als Entr’acte zwischen Mario Castelnuovo-Tedesco wurde 1895 als Sohn sorrow as he saw his conquered city and to have been friends in Spillville, Iowa, while drawing on new dem dritten und vierten Aufzug der Oper dient. Andere sephardischer Juden geboren. Er war Schüler von Ilde- reproached by his mother, with the words ‘You weep as influences, whether drawn from Longfellow’s bekannte Themen sind Carmens hartnäckige Weigerung, brando Pizzetti, dem er viel verdankte. In der Zeit zwi- a woman over what you did not know how to defend as a Hiawatha or from the spirituals he heard. The first auf die Fragen des Leutnants Zuniga zu antworten, dann schen den Kriegen etablierte er sich als Pianist und mach- man’. This, and similar incidents, form the basis of many movement announces its origin in a theme of die Habanera, das Blumenlied des Don José sowie das te sich als Solist, Begleiter und Kammermusiker einen romances or moriscos, Spanish ballads from the period. predominantly pentatonic outline, after a suggestion of Lied, mit dem Carmen ihren Liebhaber dazu bringt, ihr in Namen. Außerdem war er für verschiedene Musikzeit- Cassadó’s short piece reflects the legendary sorrow of the the song Clementine, while the G minor second die Berge zu folgen. Am Ende erklingt kurz das Lied des schriften als Kritiker tätig. Seine Kompositionen wurden exiled monarch. movement, known to many as Indian Lament and so Stierkämpfers, das schließlich von dem in der Fantasie in Italien und im Ausland gespielt, insbesondere bei den Antonín Dvofiák made his early career as a viola- published in an edition by Fritz Kreisler, uses a theme immer wieder auftretenden Schicksalsmotiv überlagert Festivals der Internationalen Gesellschaft für Neue player in Prague. It was not until 1871 that he resigned that had come to the composer as he visited the wird. Musik. Nachdem 1938 die italienischen Rassengesetze from the orchestra, devoting himself more fully to Minnehaha Falls. The Scherzo again suggests both Franz Danzi war Cellist in dem berühmten Orchester erlassen worden waren, ging Castelnuovo-Tedesco mit composition, as his music began to attract favourable Bohemia and America in its first melody, and there are von Mannheim. Er blieb in der Stadt, als der kurfürstliche Hilfe von Heifetz, Toscanini und Albert Spalding sowie local attention. With the encouragement of Brahms, he continuing echoes of the New World Symphony and the Hof im Jahre 1778 nach München übersiedelte. Fünf Jah- mit der festen Aussicht auf Arbeit nach Amerika. Von found a wider market for his work through the former’s American Quartet in the last movement. The sonatina re später übernahm Danzi dann aber doch den Platz sei- 1940 bis 1956 war er in Hollywood an rund 250 Produk- publisher, and by the later years of his life had won an makes an effective work for cello and piano in an nes Vaters im Münchner Orchester, und mit seiner dritten tionen verschiedener Filmstudios beteiligt. Doch schrieb international reputation. His work is imbued with the arrangement by Oscar Hartwieg. deutschen Oper setzte er seine kompositorische Laufbahn er auch weiterhin Konzertwerke: Es entstand eine Reihe spirit of his native country, both in compositions of fort. Nachdem er eine Sängerin geheiratet hatte, machte von etwa siebzig Kompositionen aller Art von Oratorium overt Czech resonance, and in the works written during Keith Anderson

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Maria Kliegel Nina Tichman A native of Dillenburg in Germany, Maria Kliegel is one of the leading cello-virtuosi of our time and the most Acclaimed as one of the leading pianists of her generation, recorded on CD. She took up her studies with Janos Starker at Indiana University in the United States, and won first American born Nina Tichman is at home in repertoire prize at the American College Competition, at the First German Music Competition and the Concours Aldo Parisot. ranging from Frescobaldi to composers writing today, After her victory at the Rostropovich Competition in 1981, a series of outstanding international concerts and tours many of whom have entrusted her with world premières of began, with appearances in Basle, with the National Symphony Orchestra in Washington and with the Orchestre their compositions. Her discography includes music by National de France in Paris, always accompanied by Mstislav Rostropovich conducting. Successful concert events Copland (Complete Works for Piano), Chopin, Beethoven, have naturally led to numerous recording sessions for radio, television and for record labels. In 1990, when she Mendelssohn, Penderecki, Bartók and Reger. Nina recorded Alfred Schnittke’s First Cello Concerto, the Russian composer recognised her interpretation as the Tichman has been based in Europe since winning the standard recording of the work. The critics agreed when Maria Kliegel’s recording appeared on Marco Polo, and prestigious Busoni Competition. Other awards include the later on Naxos. She appears regularly as a guest soloist at venues all over the world, and has an exceptionally wide Mendelssohn Prize of Berlin, first prize of the Casagrande repertoire, her versatility and interest in exploring newer works stimulating contemporary composers to write music Competition in Italy and the Prize of the Organization of for her to perform, for example Hommage à Nelson by Wilhelm Kaiser-Lindemann, dedicated to Nelson Mandela. American States. She has appeared as soloist with As a result of the composition’s success, Maria Kliegel was invited by the then South African President to give a orchestra and in recital in the major music centres of the private recital in his residence. In November 1998 Maria Kliegel was appointed member of the board of the world and has been featured in radio and television influential Deutscher Musikrat (German Music Council). In 1999, she was awarded the Order of Merit of the portraits on five continents. Her diverse activities as Federal State of North Rhine Westphalia by State President Wolfgang Clement. Her interest in the next generation recitalist, chamber musician and pedagogue have led to of cellists is reflected in her masterclasses at the Cologne Music Academy since 1986. Maria Kliegel’s many invitations to perform and teach in festivals such as recording for Naxos include concertos and other cello works by Beethoven, Bloch, Brahms, Bruch, Dohnányi, Marlboro, Tanglewood, Music from Salem, Styriarte, the Dvoﬁák, Elgar, Gubaidulina, Haydn, Lalo, Popper, Saint-Saëns, Schumann, Shostakovich, Tavener and International Musicians Seminar at Prussia Cove, Tchaikovsky. She has also recorded a large volume of recital music by Brahms, Chopin, Dohnányi, Gubaidulina, Frankfurt Feste, Rheingau Musikfestival, Beethoven Kodály, Lalo, Mendelssohn, Schubert, Piazzolla and others. In addition to her work with the pianist Nina Tichman, Festival Bonn and many others, often featuring premières she also collaborates with the violinist Ida Bieler in the Xyrion Trio, established in 2001. Maria Kliegel plays the of works dedicated to her. In 2001 she founded the Xyrion legendary “Ex Gendron” cello made by Stradivarius in 1693. For more than thirty years it was owned by Maurice Trio with Ida Bieler and Maria Kliegel, an ensemble that Gendron and was eventually placed at her disposal by the Stiftung für Kunst und Kultur in North Rhine Westphalia. has been praised for its vital, emotional and dramatic musicmaking and is currently recording the complete Beethoven Piano Trios. Nina Tichman is a graduate of the Juilliard School, where she was awarded the Eduard- Steuermann-Prize for outstanding musical achievement. In 1993 she was appointed Professor of Piano at the Hochschule für Musik in Cologne and she has led master-classes at the Mozarteum in Salzburg, as well as at Amherst College and Princeton University. In 2004 she was invited to perform at Schloss Bellevue for the President of Germany, an honour comparable to playing at the White House. In New York City, Frankfurt and other cities in Europe and the United States, she has held audiences spellbound over three evenings with her traversal of the complete piano works of Debussy. Her recording of this repertoire has met with critical acclaim, praising, in particular, her, ‘exquisite touch’. Recent seasons have included tours of North America, New Zealand, Germany, Spain, Greece, Turkey, Israel, Mexico, Japan and the Far East.

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Orr • Cassadó Danzi • Dvoﬁák Castelnuovo-Tedesco

Maria Kliegel, Cello Nina Tichman, Piano

8.557613 8 557613 Inlay USA 14/5/07 9:30 pm Page 1 NAXOS NAXOS This recording of virtuoso cello repertoire ranges from the work of the Mannheim cellist and composer, Franz Danzi to the British composer Buxton Orr’s Carmen Fantasy, the cellist’s answer to Franz Waxman’s famous violin fantasy. Orr’s work opens, unusually, with a cello cadenza based on the Fate motif from Bizet’s opera, which links the familiar themes, such as the Habanera and the Flower Song, used in this dazzling encore piece. The Spanish theme is continued in Gaspar Cassadó’s 8.557613 VIRTUOSO CELLO SHOWPIECES Lamento de Boabdil, which describes the legendary sorrow of the exiled last Moorish ruler of Granada, VIRTUOSO CELLO SHOWPIECES Muhammad XII, known to the Spanish as Boabdil. Castelnuovo-Tesdesco’s Figaro Variations takes as it theme the famous Largo al factotum, which appears in various guises with increasing demands for DDD technical virtuosity. Playing Time VIRTUOSO CELLO SHOWPIECES 65:51 7 1 Buxton Orr (1924-1997): A Carmen Fantasy 14:13 47313 2 Franz Danzi (1763-1826): Variations on a Theme from Mozart’s ‘Don Giovanni’ (ed. Heinrich Klug) 6:54

3 Mario Castelnuovo-Tedesco (1895-1968): Figaro Variations 26132 from Rossini’s ‘The Barber of Seville’ 6:40 (Concert Transcription, ed. Gregor Piatigorsky) 4 Gaspar Cassadó (1897-1966): Lamento de Boabdil 3:58 1

Antonín Dvoﬁák (1841-1904): www.naxos.com Made in Canada Kommentar auf Deutsch Booklet Notes in English

5 Rondo in G minor, Op. 94 8:03 & 6 Silent Woods (Klid), Op. 68 No. 5 5:14 2007 Naxos Rights International Ltd. Sonatina in G major, Op. 100 (arr. Oscar Hartwieg) 20:48 7 Allegro risoluto 6:10 8 Larghetto 4:43 9 Scherzo: Molto vivace 3:15 0 Finale: Allegro 6:41 Maria Kliegel, Cello • Nina Tichman, Piano

Publishers: Novello & Co. 1, Breitkopf & Härtel 2, Carl Fischer Music 3, B. Schott’s Söhne 4, 8.557613 G. Henle Verlag 5, N. Simrock 6, Edition Kunzelmann 7-0 8.557613 Recorded in the Clara Wieck Auditorium, Sandhausen, Germany, from 1st to 3rd December, 2004 Producer and Engineer: Teije van Geest (Tonstudio Teije van Geest) Editors: Günter Appenheimer and Robert Göing • Booklet Notes: Keith Anderson Cover Photo: Maria Kliegel (by kind permission)