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Julia Zilberquit Russian-born American pianist Julia Zilberquit has earned critical acclaim as a recitalist, orchestral soloist, chamber musician and recording artist. A native of Moscow, she graduated from Moscow Gnessin School of Music and later received her Bachelor and Master degrees from The Juilliard School (class of Bella Davidovich). In 1994 Ms Zilberquit won the First Prize at the Vienna International Music Competition. She made her orchestral début at Carnegie Hall, Three performing Shostakovich’s Concertino (in her own arrangement for piano and chamber orchestra) as part of a tour throughout North Centuries of America and Israel with the Moscow Virtuosi under Vladimir Spivakov. Her Tchaikovsky Hall début came in 1998 with Constantine Orbelian and the Moscow Chamber Orchestra in Moscow, giving the Bagatelles world première of Sergei Slonimsky’s Piano Concerto,a work dedicated to her. Julia Zilberquit has since performed with Brooklyn Philharmonic, Vienna Chamber Orchestra, New European Strings, Deutsche COUPERIN Symphony, Moscow Soloists, Cairo Symphony, Moscow Virtuosi, Russian State Orchestra, Bolshoy Orchestra, Musica Viva, St BEETHOVEN Petersburg Camerata, St Petersburg Cappella, Russian Philharmonia, Moscow Chamber Orchestra, Sinfonietta Cracovia and Sinfonia LISZT Varsovia. She discovered a virtually unknown early Piano Concerto by Beethoven and gave its première in 2004 with Yuri Bashmet and ‘Young Russia’ orchestra in Moscow, and with Yuli Turovsky and I Musici de Montréal in Montréal in 2006. As a recitalist, she has appeared in the world’s major SAINT-SAËNS concert halls including New York‘s Weill Carnegie Hall and Lincoln Center’s Alice Tully Hall. Engagements at major international music festivals include Seattle, Colmar (France), Klangbogen (Vienna), Gergiev’s ‘White Nights’ (St LYADOV Petersburg), Richter’s ‘December Nights’ (Moscow), ‘The Palaces of St. Petersburg’ and the Penderecki Festival (Poland). She has also performed under the baton of Yehudi Menuhin at the Beethoven Festival in Vienna and has been BARTÓK the featured artist on WQXR (New York), RadioFrance and DeutschlandRadio. She now lives in New York City with her husband and two children. TCHEREPNIN www.juliazilberquit.com DENISOV Tcherepnin, Lyadov and Denisov are all worthy if little-known contemporaries of Rachmaninoff. Zilberquit’s superb performance brought them to life. Washington Post An adventurous programme from the gifted Russian virtuoso, Julia Zilberquit, whose refreshingly clean sound Julia Zilberquit, makes her selection of Bagatelles sparkle with unusual clarity and retain a pointillistic luminescence. Piano Magazine (London) Piano

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Three Centuries of Bagatelles This innovative and unique recording traces the The four bagatelles by Anatoli Lyadov (1855-1914), development of the bagatelle from the eighteenth century a brilliant composer of the Russian school, are very typical FRANÇOIS COUPERIN (1668–1733) ALEXANDER TCHEREPNIN (1899–1977) through to the twentieth century, featuring music by of this composer’s style. A true master of piano 1 ‘Les Bagatelles’ (Rondeau) Ten Bagatelles, Op. 5 Couperin, Beethoven, Saint-Saëns, Liszt, and Bartók, as miniatures, Lyadov creates delicate lyric sketches. From Pièces de Clavecin, Book 2: 10th Ordre 2:56 * Bagatelle No. 1 0:59 well as the Russian composers Anatoli Lyadov, Alexander Alexander Tcherepnin (1899-1977) comes from a famous LUDWIG VAN BEETHOVEN (1770–1827) ( Bagatelle No. 2 1:35 Tcherepnin and Edison Denisov. The striking majority of family of composers – his father Nicolai, himself, and his ) Bagatelle No. 3 1:02 Bagatelles – with the exception of those by Beethoven – son Sergey. His Ten Bagatelles bring to life picturesque Six Bagatelles ¡ Bagatelle No. 4 2:34 have not been heard often in concert or on the air. traditional characters from Russian folklore. 2 Bagatelle in A minor, WoO 59, ‘Für Elise’ 3:37 ™ Bagatelle No. 5 1:49 Recordings of bagatelles are equally rare. Several decades later, Edison Denisov (1929-1996) – 3 Bagatelle in F major, Op. 33, No. 3 Allegretto 2:13 £ Bagatelle No. 6 1:36 Bagatelle means ‘trifle’ in French, a thing of no one of the most original composers of the mid-twentieth 4 Bagatelle in A major, Op. 33, No. 4 Andante 4:01 ¢ Bagatelle No. 7 1:16 importance. In spite of that definition, this recording century – composed a cycle of musical ‘luboks’, popular 5 Bagatelle in A minor, Op. 119, No. 9 Vivace moderato 0:45 ∞ Bagatelle No. 8 1:15 reveals the remarkable character and drama in the genre. prints by primitive artists depicting scenes of urban and § It was used by composers to ‘disarm’ the listeners, to rural life, filled with extraordinary characters. In the cycle 6 Bagatelle in A major, Op. 119, No. 10 Bagatelle No. 9 0:43 Allegramente 0:18 ¶ Bagatelle No. 10 0:56 surprise them with a brilliant or poetic character piece. Seven Bagatelles, Denisov developed traditions of the 7 Bagatelle in C minor, Op. 119, No. 5 Risoluto 1:04 EDISON DENISOV (1929–1996) Les Bagatelles by François Couperin (1668-1733) is Russian composers who had preceded him. One finds arguably the first work in the history of western classical musical echoes of Stravinsky, Tchaikovsky and Borodin Seven Bagatelles, Op. 19 1960 CAMILLE SAINT-SAËNS (1835–1921) music to be called ‘bagatelle’. The rondeau is the last in that cycle. • Bagatelle No. 1 0:39 Six Bagatelles, Op. 3 piece in Pièces de Clavecin, Book 2: 10th Ordre. The Bagatelle Without Tonality by Franz Liszt (1811- ª Bagatelle No. 2 0:52 Suite I Beethoven’s bagatelles, among them Für Elise, are 1886) was written towards the end of the composer’s life º Bagatelle No. 3 2:52 8 Bagatelle No. 1 Poco sostenuto 2:26 easily the most famous examples of this genre. Composed when the composer started experimenting with tonality ⁄ Bagatelle No. 4 1:24 9 Bagatelle No. 2 Allegro animato quasi presto 3:44 as cycles at three different stages of his career (Opp. 33, and the lack thereof. The images of this exquisitely ¤ Bagatelle No. 5 3:03 0 Bagatelle No. 3 Poco adagio 3:36 119, 126), these miniatures reflect many features of his masterly miniature in the form of a waltz are similar to ‹ Bagatelle No. 6 0:50 Suite II style. those of the Mephisto Waltz No.1 in its tension and › Bagatelle No. 7 1:57 ! Bagatelle No. 4 Moderato assai 3:20 Saint-Saëns’ bagatelles were published as two sub- mystery. @ Bagatelle No. 5 Allegro molto 5:28 FRANZ LISZT (1811–1886) cycles of three pieces each, and reflect the influence of This recording finishes with the last piece from # Bagatelle No. 6 Poco sostenuto 6:33 fi Bagatelles Sans Tonalité, S216a c.1885 3:38 Romantics such as Chopin, Schumann, Brahms, and Liszt. Fourteen Bagatelles by Béla Bartók (1881-1945). The ANATOLY LYADOV (1855–1914) BÉLA BARTÓK (1881–1945) The very first and last pieces of the cycle create an ‘arch’ piece is subtitled ‘My dancing sweetheart …’ or ‘Ma Mie by using similar character and subject matter, thus uniting Qui Danse …’, a humorous musical sketch. Four Bagatelles fl Bagatelle Op. 6, No. 14 the whole cycle. $ Bagatelle in D flat major, Op. 30 2:26 Valse (Ma mie quie danse …) 2:28 Mark Zilberquit % Bagatelle in G sharp minor, Op. 53, No. 1 0:37 ^ Bagatelle in G major, Op. 53, No. 2 0:56 & Bagatelle in A flat major, Op. 53, No. 3 1:37

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Three Centuries of Bagatelles This innovative and unique recording traces the The four bagatelles by Anatoli Lyadov (1855-1914), development of the bagatelle from the eighteenth century a brilliant composer of the Russian school, are very typical FRANÇOIS COUPERIN (1668–1733) ALEXANDER TCHEREPNIN (1899–1977) through to the twentieth century, featuring music by of this composer’s style. A true master of piano 1 ‘Les Bagatelles’ (Rondeau) Ten Bagatelles, Op. 5 Couperin, Beethoven, Saint-Saëns, Liszt, and Bartók, as miniatures, Lyadov creates delicate lyric sketches. From Pièces de Clavecin, Book 2: 10th Ordre 2:56 * Bagatelle No. 1 0:59 well as the Russian composers Anatoli Lyadov, Alexander Alexander Tcherepnin (1899-1977) comes from a famous LUDWIG VAN BEETHOVEN (1770–1827) ( Bagatelle No. 2 1:35 Tcherepnin and Edison Denisov. The striking majority of family of composers – his father Nicolai, himself, and his ) Bagatelle No. 3 1:02 Bagatelles – with the exception of those by Beethoven – son Sergey. His Ten Bagatelles bring to life picturesque Six Bagatelles ¡ Bagatelle No. 4 2:34 have not been heard often in concert or on the air. traditional characters from Russian folklore. 2 Bagatelle in A minor, WoO 59, ‘Für Elise’ 3:37 ™ Bagatelle No. 5 1:49 Recordings of bagatelles are equally rare. Several decades later, Edison Denisov (1929-1996) – 3 Bagatelle in F major, Op. 33, No. 3 Allegretto 2:13 £ Bagatelle No. 6 1:36 Bagatelle means ‘trifle’ in French, a thing of no one of the most original composers of the mid-twentieth 4 Bagatelle in A major, Op. 33, No. 4 Andante 4:01 ¢ Bagatelle No. 7 1:16 importance. In spite of that definition, this recording century – composed a cycle of musical ‘luboks’, popular 5 Bagatelle in A minor, Op. 119, No. 9 Vivace moderato 0:45 ∞ Bagatelle No. 8 1:15 reveals the remarkable character and drama in the genre. prints by primitive artists depicting scenes of urban and § It was used by composers to ‘disarm’ the listeners, to rural life, filled with extraordinary characters. In the cycle 6 Bagatelle in A major, Op. 119, No. 10 Bagatelle No. 9 0:43 Allegramente 0:18 ¶ Bagatelle No. 10 0:56 surprise them with a brilliant or poetic character piece. Seven Bagatelles, Denisov developed traditions of the 7 Bagatelle in C minor, Op. 119, No. 5 Risoluto 1:04 EDISON DENISOV (1929–1996) Les Bagatelles by François Couperin (1668-1733) is Russian composers who had preceded him. One finds arguably the first work in the history of western classical musical echoes of Stravinsky, Tchaikovsky and Borodin Seven Bagatelles, Op. 19 1960 CAMILLE SAINT-SAËNS (1835–1921) music to be called ‘bagatelle’. The rondeau is the last in that cycle. • Bagatelle No. 1 0:39 Six Bagatelles, Op. 3 piece in Pièces de Clavecin, Book 2: 10th Ordre. The Bagatelle Without Tonality by Franz Liszt (1811- ª Bagatelle No. 2 0:52 Suite I Beethoven’s bagatelles, among them Für Elise, are 1886) was written towards the end of the composer’s life º Bagatelle No. 3 2:52 8 Bagatelle No. 1 Poco sostenuto 2:26 easily the most famous examples of this genre. Composed when the composer started experimenting with tonality ⁄ Bagatelle No. 4 1:24 9 Bagatelle No. 2 Allegro animato quasi presto 3:44 as cycles at three different stages of his career (Opp. 33, and the lack thereof. The images of this exquisitely ¤ Bagatelle No. 5 3:03 0 Bagatelle No. 3 Poco adagio 3:36 119, 126), these miniatures reflect many features of his masterly miniature in the form of a waltz are similar to ‹ Bagatelle No. 6 0:50 Suite II style. those of the Mephisto Waltz No.1 in its tension and › Bagatelle No. 7 1:57 ! Bagatelle No. 4 Moderato assai 3:20 Saint-Saëns’ bagatelles were published as two sub- mystery. @ Bagatelle No. 5 Allegro molto 5:28 FRANZ LISZT (1811–1886) cycles of three pieces each, and reflect the influence of This recording finishes with the last piece from # Bagatelle No. 6 Poco sostenuto 6:33 fi Bagatelles Sans Tonalité, S216a c.1885 3:38 Romantics such as Chopin, Schumann, Brahms, and Liszt. Fourteen Bagatelles by Béla Bartók (1881-1945). The ANATOLY LYADOV (1855–1914) BÉLA BARTÓK (1881–1945) The very first and last pieces of the cycle create an ‘arch’ piece is subtitled ‘My dancing sweetheart …’ or ‘Ma Mie by using similar character and subject matter, thus uniting Qui Danse …’, a humorous musical sketch. Four Bagatelles fl Bagatelle Op. 6, No. 14 the whole cycle. $ Bagatelle in D flat major, Op. 30 2:26 Valse (Ma mie quie danse …) 2:28 Mark Zilberquit % Bagatelle in G sharp minor, Op. 53, No. 1 0:37 ^ Bagatelle in G major, Op. 53, No. 2 0:56 & Bagatelle in A flat major, Op. 53, No. 3 1:37

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Julia Zilberquit Russian-born American pianist Julia Zilberquit has earned critical acclaim as a recitalist, orchestral soloist, chamber musician and recording artist. A native of Moscow, she graduated from Moscow Gnessin School of Music and later received her Bachelor and Master degrees from The Juilliard School (class of Bella Davidovich). In 1994 Ms Zilberquit won the First Prize at the Vienna International Music Competition. She made her orchestral début at Carnegie Hall, Three performing Shostakovich’s Concertino (in her own arrangement for piano and chamber orchestra) as part of a tour throughout North Centuries of America and Israel with the Moscow Virtuosi under Vladimir Spivakov. Her Tchaikovsky Hall début came in 1998 with Constantine Orbelian and the Moscow Chamber Orchestra in Moscow, giving the Bagatelles world première of Sergei Slonimsky’s Piano Concerto,a work dedicated to her. Julia Zilberquit has since performed with Brooklyn Philharmonic, Vienna Chamber Orchestra, New European Strings, Deutsche COUPERIN Symphony, Moscow Soloists, Cairo Symphony, Moscow Virtuosi, Russian State Orchestra, Bolshoy Orchestra, Musica Viva, St BEETHOVEN Petersburg Camerata, St Petersburg Cappella, Russian Philharmonia, Moscow Chamber Orchestra, Sinfonietta Cracovia and Sinfonia LISZT Varsovia. She discovered a virtually unknown early Piano Concerto by Beethoven and gave its première in 2004 with Yuri Bashmet and ‘Young Russia’ orchestra in Moscow, and with Yuli Turovsky and I Musici de Montréal in Montréal in 2006. As a recitalist, she has appeared in the world’s major SAINT-SAËNS concert halls including New York‘s Weill Carnegie Hall and Lincoln Center’s Alice Tully Hall. Engagements at major international music festivals include Seattle, Colmar (France), Klangbogen (Vienna), Gergiev’s ‘White Nights’ (St LYADOV Petersburg), Richter’s ‘December Nights’ (Moscow), ‘The Palaces of St. Petersburg’ and the Penderecki Festival (Poland). She has also performed under the baton of Yehudi Menuhin at the Beethoven Festival in Vienna and has been BARTÓK the featured artist on WQXR (New York), RadioFrance and DeutschlandRadio. She now lives in New York City with her husband and two children. TCHEREPNIN www.juliazilberquit.com DENISOV Tcherepnin, Lyadov and Denisov are all worthy if little-known contemporaries of Rachmaninoff. Zilberquit’s superb performance brought them to life. Washington Post An adventurous programme from the gifted Russian virtuoso, Julia Zilberquit, whose refreshingly clean sound Julia Zilberquit, makes her selection of Bagatelles sparkle with unusual clarity and retain a pointillistic luminescence. Piano Magazine (London) Piano

8.570237 4 NAXOS NAXOS Bagatelle means ‘trifle’ in French. The genre was often used by composers to ‘disarm’ their listeners, surprising them with a brilliant or poetic character piece. This innovative recording by the gifted Russian-born American pianist Julia Zilberquit traces the development of the bagatelle from Couperin through to Bartók and beyond, revealing the remarkable character and drama in the genre. 8.570237 Three Centuries of Bagatelles Three Centuries of Bagatelles DDD THREE CENTURIES OF BAGATELLES Playing Time FRANÇOIS COUPERIN (1668-1733) 77:13 1 ‘Les Bagatelles’ (Rondeau) from Pièces de Clavecin, Book 2: 10th Ordre 2:56 LUDWIG VAN BEETHOVEN (1770-1827) 2 Bagatelle WoO 59, ‘Für Elise’ 3:37 3-4 Bagatelles, Op. 33, Nos. 3 & 4 6:14 5-7 Bagatelles, Op. 119, Nos. 9, 10 & 5 2:07 CAMILLE SAINT-SAËNS (1835-1921) 8-# Bagatelles, Op. 3, Nos. 1–6 25:06 ANATOLY LYADOV (1855-1914) Made in Canada Booklet notes in English Ltd. Naxos Rights International $ Bagatelle, Op. 30 2:26 www.naxos.com ൿ

%-& Bagatelles, Op. 53, Nos. 1–3 3:11 & ALEXANDER TCHEREPNIN (1899-1977) Ꭿ *-¶ Bagatelles, Op. 5, Nos. 1–10 13:44 2007 EDISON DENISOV (1929-1996) •-› Bagatelles, Op. 19, Nos. 1–7 11:36 FRANZ LISZT (1811-1886) fi Bagatelle Sans Tonalité, S216a (c. 1885) 3:38 BÉLA BARTÓK (1881-1945) fl Bagatelle, Op. 6, No. 14, Valse (Ma mie qui danse …) 2:28

8.570237 Julia Zilberquit, Piano 8.570237

Recorded at The Great Hall of Moscow Conservatory in May & September 2001 Producer: Vadim Ivanov • Engineer: Vitaly Ivanov • Editor: Farida Uzbekova • Notes: Mark Zilberquit Cover photo of Julia Zilberquit by Vlad Loktev