Russian Music for & Piano wendy warner cello irina nuzova piano In fond memory of my mentor, . — WENDY WARNER Russian Music for Cello & Piano

wendy warner cello irina nuzova piano

Producer James Ginsburg Engineer Bill Maylone Recorded October 27–30, 2008, in the Fay and Daniel Levin Performance Studio, WFMT, Chicago Cello Pietro Guarneri II, Venice c.1739, nikolai miaskovsky (1881–1950) “Beatrice Harrison” Cello bow François Xavier Tourte, c.1815, the “De Lamare” on extended loan Sonata No. 2 in A minor for Cello and Piano, Op. 81 (23:11) through the Stradivari Society of Chicago Steinway Piano Charles Terr, Technician Design Kstudio, I. Allegro moderato (9:42) II. Andante cantabile (7:26) III. Allegro con spirito (5:56) Christiaan Kuypers Photography Lisa-Marie Mazzucco (1872–1915) Etude Op. 8 No. 11 for Piano Solo (4:03) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit Transcription for cello and piano by Gregor Piatigorsky foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by contributions and grants alfred schnittke (1934–1998) from individuals, foundations, corporations, and government agencies including the Alphawood Musica Nostalgica, for Violoncello and Piano (3:22) Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, The MacArthur Fund for Arts and Culture at Prince, NIB Foundation, Negaunee Foundation, Sage Foundation, Chicago Department (1891–1953) of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. Contributions to Adagio from Ten Pieces from the Ballet , Op 97b (3:51) The Chicago Classical Recording Foundation may be made at www.cedillerecords.org or 773-989-2515. sergei rachmaninov (1873–1943) Sonata in G Minor for Cello and Piano, Op. 19 (34:05) CEDILLE RECORDS trademark of The Chicago Classical Recording Foundation, 1205 W. Balmoral Ave, I. Lento — Allegro moderato (10:39) II. Allegro scherzando (6:38) Chicago, IL 60640, USA. tel 773.989.2515 fax 773.989.2517 www.cedillerecords.org CDR 90000 120 ℗ & © 2010 Cedille Records. All Rights Reserved. Made in U.S.A III. Andante (5:59) IV. Allegro mosso (10:34)

Total Time: (68:55) Warner Nuzova cello and piano duo

Both accomplished musicians in their education in . After performing own right, cellist Wendy Warner and together for several years, Nuzova pianist Irina Nuzova achieve a rare artistic and Warner formally came together as synergy in performance together. The the WarnerNuzova cello and piano duo melding of the musicians’ contrasting in 2008. Russian Music for Cello & Piano cultures and traditions is at the core of the is their debut CD recording. energy and insight of their interpretations. Wendy Warner earned her fame as a Critics have praised Warner and soloist at the Curtis Institute in Philadelphia Nuzova’s powerful emotional resonance under the baton and tutelage of Mstislav with their audiences. Recently The Rostropovich. -born Irina Nuzova Milwaukee Journal Sentinel wrote: “Sorrow studied at Juilliard following rigorous was never sweeter than in the long,

5 Russian Music for Cello & Piano

notes by andrea lamoreaux

slow opening theme of the Brahms and new music. Equal prominence of The spirits of three great Russian cellists the work in Moscow in December 1901, Cello Sonata... Nuzova and Warner the instruments is a key consideration permeate this CD of music from the late- not long after the premiere of one of sounded entirely attuned to one another in the musicians’ choice of repertoire. Romantic and modern eras. Two of their Rachmaninov’s most enduring works, in this beautiful and compelling reading.” Additionally, as homage to their respective names are familiar: Gregor Piatigorsky the Piano No. 2 in C Minor. The musicians have performed together backgrounds, the women favor Russian and Mstislav Rostropovich, among the in concert halls in New York, Chicago, and American repertoire, exploring greatest instrumentalists of the 20th Brandukov’s listing in the current Baltimore, Washington, D.C., and many the commonalities and “dissonances” century. The third is Anatoly Brandukov edition of Grove’s Dictionary of Music other cities. Upcoming engagements between the two cultural heritages. (1856–1930), a graduate of the Moscow and Musicians (an evaluation by include live performances of the Conservatory who later taught there. He cellist-musicologist Lev Ginzburg) complete Beethoven sonatas in Boston, had an international career as a soloist, cites his “stylish interpretations, refined Washington, D.C., San Antonio, Chicago, chamber musician, and conductor, with temperament, and beautiful, expressive and Toronto. Master classes for chamber particular success in . His onetime tone.” The sonata gives the cellist music ensembles are offered in tandem theory teacher, Tchaikovsky, dedicated his ample opportunity for expressive playing with all concerts. 1887 “Pezzo Capriccioso” to Brandukov. through page after page of glorious In 1901, the young Sergei Rachmaninov melody. Yet this work also allows the WarnerNuzova’s mission is to perform (1873–1943) dedicated to the cellist one pianist to shine and even frequently and record the canonic works for cello of his few pieces of chamber music, the dominate the proceedings, reminding and piano from the past and present, as Sonata for Cello and Piano in G Minor. us that Rachmaninov was himself a well as commission unique arrangements Brandukov and Rachmaninov premiered keyboard virtuoso.

6 Andrea Lamoreaux is music director of 98.7 WFMT, Chicago’s classical experience. 7 The work’s short, pensive slow introduction (bowed) passages while triplets in the in E-Flat Major. The “trio” midsection, the piano. The recapitulation returns presents a characteristic motive for the pianist’s right hand set up two-against- very lyrical in both parts, modulates both themes in G Major. A sudden pause entire first movement: a rising semitone, three rhythmic patterns. To announce to A-Flat Major before the hushed C is heralded by a very low G in the bass or half-step (e.g., B natural to middle C) the approach of the recapitulation, Minor returns for an almost note-for-note of the piano, with broken chords above it heard right away in both instruments. the piano has what can only be called recapitulation of the opening. and a soft cello melody that briefly brings These opening measures are in 3/4 time. a , even though that kind of back the two eighth notes and one quarter For the main Allegro Moderato we shift to virtuoso solo passage is more associated Like the Scherzando, the Andante rhythmic motive and rising semitone of 4/4 meter and hear another characteristic with than sonatas. The cello movement is ternary (A-B-A) in form. The the first movement before the piece ends motive in the piano part — a rhythmic one re-enters with broad leaps over piano piano opens with a simple E-Flat Major with a vigorous coda marked Vivace. this time — two emphatic eighth notes chords to lead to the recapitulation, with tune that’s picked up and expanded by followed by a quarter: ta-ta-TUM. The the second theme returning in G Major in the cello. The midsection returns to the Few music-lovers will need to be first theme, ruminative and expansive, sonata-form tradition. The piano’s 16th work’s home key of G Minor. Although introduced to the extraordinary life and in G Minor, is given to the cello with the notes coming out of the development the Andante’s time signature is 4/4, career of Mstislav Rostropovich indication “espressivo e tranquillo.” The introduce the energetic coda. the pace is varied by numerous triplet (1927–2007): cellist, pianist, conductor, second theme, in D Major, is heard in the passages. G Major is the principal key composer, political dissident, and piano first and heralded by the rhythmic The Allegro Scherzando second of the fast-paced and emphatic finale. freedom-fighter. Shostakovich, Prokofiev, motive. The exposition repeat is not taken movement begins and ends in C Minor. The triplet-laced first theme is dramatically and Britten were among the 20th-century in this performance; it goes directly to Its opening passages require the cellist propulsive in both parts; the second musical giants who composed cello the development section, which focuses to alternate quickly between pizzicato theme, marked “espressivo” for the music that Rostropovich introduced to a good deal on the rhythmic motive and and arco over broken-octave patterns in cello, is a straightforward tune that firmly audiences worldwide. Less well-known the rising semitone, and on a rapid 16th- the piano, played pianissimo at first and outlines the contours of a D Major scale. than these is Nikolai Miaskovsky note passage for the piano. The cello building up to fortissimo chords. The The development portion is dominated (1881–1950), who excelled as a composer, has pizzicato (plucked) as well as arco cello introduces a lyrical second theme by triplet patterns and heavy chords for critic, and teacher. His early education

8 9 combined military training with musical lyrical late-Romantic vein in which cello explores its full range from lowest to chords and octaves in the piano accented studies; he served as an officer in the Miaskovsky was comfortable and prolific all highest. A modulation to F-Sharp Minor off the beat. This movement is a Rondo, Russian Imperial Army during World War his life; it takes no note of the dissonance punctuates the recapitulation, the second with the insistent main theme returning I and later was part of the early Soviet and atonality that had come to dominate theme is briefly re-stated in A, and the coda several times, contrasted with more relaxed military establishment. But his longest in the mid-20th century. is based mainly on the opening theme. sections, though the pace and forward tenure of any kind was on the composition Like pretty much everything by Miaskovsky, propulsion never really slacken. There are faculty of the , from it is seldom played nowadays. Although it The 4/4 meter of the first movement is stronger dynamic contrasts here than in 1921 until his death. can be found on a number of recordings, contrasted by the 6/8 triple-meter of the the earlier movements, reinforcing the vigor it is likely to be a discovery for most Andante Cantabile movement, whose of the themes and providing a sequence Miaskovsky composed 27 symphonies, listeners: a discovery combining lyricism, first cello theme in F Major is a lyrical of surprises. At the very end, fortissimo few of which are currently performed expressiveness, and grace. The opening waltz melody. New material is introduced diminishes to piano, but the music does not (several appeared in the repertory of Allegro Moderato movement is based in F Minor and the movement proceeds just die away: the piece ends with a pair of the Chicago Symphony under Frederick on the usual structures of sonata form, through several key changes while the triumphant fortissimo chords. Stock in the 1930s and 40s, however). but there are no clear divisions between mood shifts from serene to rhapsodic as Miaskovsky’s other works include sections and themes; the music feels its harmonies become more chromatic. Alfred Schnittke (1934–1998) studied concertos, band music, string quartets, continuous. The rippling outlines of A A concluding passage gives the cello a music in both and Moscow. He piano scores, and a great quantity of Minor and C Major triads in the piano part long descending scale over piano octaves. lived most of his life in the , songs. One of his last works, the Cello support a cello theme that’s reiterated in At the opening of the finale, Allegro con and clashed occasionally with the Sonata No. 2 in A Minor, full of song-like a higher register. A secondary theme in C Spirito, the cello is asked to play spiccato: system’s rigid artistic ideas. His last years melodies, was written in 1948–49 and Major moves in faster notes, mostly eighths bouncing the bow across the strings he spent teaching, writing, and composing dedicated to Rostropovich. instead of quarters, but the rippling effect instead of drawing it smoothly. This in the German city of . His continues. The development gives the first accentuates each note of the scurrying large work-list includes symphonies, The sonata’s style is very much in the theme, transposed, to the piano, while the main theme in A Minor, supported by concertos, chamber music, ,

10 11 choral works, and numerous film scores. Minuet tradition comes through being by his full-length piano sonatas and : two 20th-century Influences that have been discerned in mostly in a minor key (A Minor). After works for orchestra. The Op. 8 Etudes masterworks inspired by literary genres his works, or that he himself cited, include the simple opening melody exchanged of 1894, a set of 12 miniatures obviously of the Romantic age — the fairy tale and Russian romanticism, the Austro-German between the players, there’s a short modeled on Chopin’s two sets of similar the Russian novel. The ballet was unveiled symphonic tradition, Shostakovich, cello solo serving as midsection, then pieces, reveal further influences from at the Bolshoi Theater in 1945. Prokofiev serialism, Baroque music, sacred music a varied repeat of the opening. Haydn the virtuoso tradition of Liszt, Scriabin’s extracted a set of piano pieces, Op. 97, from the Middle Ages onward, jazz, and would have loved it. own taste for chromatic harmonies, and from the full score and transcribed one of folk music. His symphonies can seem an air of moodiness often identified as a them for cello and piano, Op. 97b. This to channel Beethoven, Tchaikovsky, The all-too-brief, 43-year life of Alexander specifically Russian form of melancholy. is the Adagio from Act 2, a pas de deux Bruckner, and Berg, both quoting and Scriabin (1872–1915) witnessed his The folk-like themes of the Op. 8, No. (duet) for Cinderella and the Prince, who distorting these sources. The result is transformation from a post-Chopin keyboard 11 Etude in B-Flat Minor, mellow and have just discovered each other at the ball. usually termed “polystylistic.” What stylistic Romantic to a post-Wagnerian musical lyrical, must have appealed particularly The pace is that of a waltz, beginning analysis fails to identify is Schnittke’s philosopher espousing grand gestures to legendary cellist Gregor Piatigorsky almost hesitantly and gradually becoming sense of humor, which emerges in pieces and large orchestras. In his final years (1903–1976), who transcribed this lovely more passionate. that mock but also pay loving homage his focus shifted again, toward futuristic encore piece. Labeled Andante Cantabile to music from the past. One such piece experimentation in the realms of and sticking mostly to the minor mode, is Musica Nostalgica, written for Mstislav polytonality and atonality. One wonders it begins and ends very softly, with Rostropovich in 1992. Both composer what innovations might have emerged rich piano chords and passage-work Publishers and soloist must have smiled over and from a longer lifespan. supporting the cello’s song. Miaskovsky G. Schirmer, Inc. Scriabin International greatly enjoyed this simple Minuet, a wry Music Company Schnittke G. Schirmer, Inc. obo little encore whose harmonies are almost Scriabin was a genius both on the The Sergei Prokofiev (1891–1953) ballet, Musikverlag Hans Sikorski Prokofiev MCA Music aggressively diatonic. Perhaps its most small scale (e.g. his shorter piano works) Cinderella comes from the years of World Publishing obo Leeds Music Corporation significant departure from 18th-century and on the larger canvases represented War II, when he also worked on the Rachmaninov International Music Company

12 13 Thoughts on Miaskovsky by the Bolshevik Revolution of 1917. innovations from the early 20th century: by irina nuzova The question was: how to resolve the atonality, polytonality, 12-tone system, or profound disconnect with the past while neo-classicism. Rather, Miaskovsky fits in preserving personal integrity. The newly with the romantic tradition of the late-19th Miaskovsky’s Sonata No. 2 in A minor is that glitters.” I would say that the reverse formed proletariat ideology was not a century. From this perspective, his music a rare gem. It was the impetus for this applies to Miaskovsky and this sonata language everyone could adopt with ease. may be thought of as neo-romantic. first recording project of the cello-piano in particular: Something that does not Prokofiev found expression in liveliness duo Wendy and I formed in 2008. Why glitter can still be gold. The sonata’s and mischievousness; Shostakovich in Miaskovsky’s Song Cycle Op. 1 sets Miaskovsky? Because outside of Russia pervasive, nostalgic quality speaks to the sarcasm and irony. Miaskovsky stood to a poem by Baratynsky, a Pushkin this special work remains largely unknown: Russian soul and mind, but it is subtle the side of those giants in a quiet way. contemporary. If one were to substitute only around a dozen recordings have and subdued in its expression. Its intrigue Perhaps he had to suppress his stronger ‘music’ for ‘verse’, and ‘listener’ for been made in the last few decades, and inspiration may not be fully apparent sentiments, but his voice remained ‘reader’, the poem might well read as an and almost every one of these involves upon first hearing; the music is rather his own: unsentimental yet sensitive, epigraph to his creative oeuvre, as well as Russian performers. We are proud to be introverted and does not sweep up the unpretentious yet firm, restrained yet to the composer’s modesty. the first to record this sonata on American listener like Rachmaninov’s sonata. But consistent. soil, with an American cellist, and on an Miaskovsky’s sonata is absolutely jewel- [Untitled] American label. But we still have strong like in its clarity and simplicity. Miaskovsky’s music expresses its Evgeny Baratynsky Russian roots: Wendy Warner studied emotional reserve with dignity. His theme translated by Peter France and performed extensively with Mstislav Although Miaskovsky was celebrated is nostalgia for Russia as it existed in the Rostropovich and Russia remains my in his time, his creative endeavor was 19th century, preceding the turbulence My talent is pitiful, my voice not loud, native culture — musically and emotionally. still a personal struggle. Like much of the 20th century in which he lived but but I am living; somewhere in the world of the Russian intelligentsia, he was to which he perhaps felt a stranger. someone looks kindly on my life; far off A Russian maxim reads, “All is not gold faced with the historical “break” caused His music does not exhibit any of the one of my descendants will read my words

14 15 and discover me; and, it may be, my soul in the early nineties, it is associated Wordlessness will connect with his soul, and as I with the pangs of nostalgia for my native by Konstantin Bal’mont have found a friend in this generation, country. Surely Miaskovsky also gained translated by Angela Livingstone I shall find a reader in posterity. inspiration from images of the vast Russian landscape, and in particular the In all Russian nature there’s tenderness, tiredness, rich literary tradition associated with it. An unrevealed sorrow, a pain that is speechless, Мой дар убог, и голос мой негромок, The first movement, in quite an organic Unsoothable mourning, immensity, silence, Но я живу и на земле мое and natural way, brings to my mind Cold height, and an endlessly vanishing distance. Кому-нибудь любезно бытие: a poem by the Russian symbolist Его найдёт далёкий мой потомок Konstantin Bal’mont (1867–1942). The At daybreak come out to the slope of a hillside — В моих стихах; как знать? душа моя poem, “Bezglagol’nost” (translated as The shivering river is misty with coolness, Окажется с душой его в сношеньи, “Wordlessness”), conveys the melancholy And black is the motionless mass of the pinewoods. И как нашёл я друга в поколеньи, beauty and boundlessness of Russia’s Your heart feels a pang, and your heart is not gladdened. Читателя найду в потомстве я. fields and rivers, and their vast quietness, with its intimation of timeless sadness. The reeds are unstirring, the sedge doesn’t quiver. No English translation existed for this Deep quiet. And wordlessness, utterly peaceful. In performing the A minor sonata, I am poem, and I have found myself hard-put The meadows spread out faraway and forever. drawn towards images of Russian nature. to explain its meaning to non-Russian In everything — weariness, muteness and bleakness. The Russian soul is tied up in so many speakers. Happily, Angela Livingstone ways with the Russian landscape, which (Professor Emeritus, Essex University, At sunset, go into — as into cool water — is, after all, one of the few enduring England) generously offered to make the The wildness and chill of a villager’s garden — touchstones of our collective memory. first translation into English specifically There, trees are so strangely unspeaking and sombre, Also, for me, having left the Soviet Union for this recording project. Your heart feels a sadness, your heart is not gladdened.

16 17 As if your soul asked for the thing it was seeking Wendy Warner And got in response an unmerited anguish. Your heart did forgive, but your heart became lifeless, And cannot cease weeping and weeping and weeping.

Wendy Warner is one of the world’s leading cellists. She has been hailed by Безглагольность Strings magazine for her “youthful, surging playing, natural stage presence Есть в русской природе усталая нежность, Войди на закате, как в свежие волны, and almost frightening technique.” As Безмолвная боль затаенной печали, В прохладную глушь деревенского сада,— cellist Frans Helmerson told The New Безвыходность горя, безгласность, Деревья так сумрачно-странно-безмолвны, York Times, “She’s unbelievable.” Having безбрежность, И сердцу так грустно, и сердце не радо. garnered international attention by winning Холодная высь, уходящие дали. first-prize at the Fourth International Как будто душа о желанном просила, Rostropovich Competition in Paris in 1990, Приди на рассвете на склон косогора,— И сделали ей незаслуженно больно. audiences have since watched Wendy Над зябкой рекою дымится прохлада, И сердце простило, но сердце застыло, perform on prestigious stages including Чернеет громада застывшего бора, И плачет, и плачет, и плачет невольно. New York’s Carnegie Hall, Symphony И сердцу так больно, и сердце не радо. Hall in Boston, Walt Disney Hall in Los Angeles, Paris’s Salle Pleyel, and ’s Недвижный камыш. Не трепещет осока. Philharmonie. Глубокая тишь. Безглагольность покоя. Луга убегают далеко-далеко. Warner has collaborated with many Во всем утомленье — глухое, немое. leading conductors including Mstislav

18 19 Rostropovich, Vladimir Spivakov, with which she performed the Brahms Her past recordings include Hindemith’s European tour that year, also conducted Christoph Eschenbach, André Previn, with violinist Anne-Sophie complete chamber works for cello for by Rostropovich. She continues to Jesús López-Cobos, Joel Smirnoff, Mutter. Warner was invited to perform Bridge Records and a disc of 20th perform and tour internationally. Carlos Miguel Prieto, Ignat Solzhenitsyn, in recital and with orchestra at the 70th century violin and cello duos with Rachel , Eiji Oue, Neeme Järvi, birthday celebration concert for Mstislav Barton Pine for Cedille Records. Warner’s A recipient of the prestigious Avery and Michael Tilson Thomas. In recent Rostropovich in Kronberg, Germany and critically acclaimed CD of Samuel Barber’s Fisher Career Grant, Warner is on the seasons, she has performed with has performed Vivaldi’s two- Cello Concerto, with Marin Alsop and the faculty at Roosevelt University’s Chicago many orchestras including the Detroit in France with Rostropovich. Royal Scottish National Orchestra, was College of Performing Arts, the Music Symphony, New World Symphony, St. released by Naxos. Institute of Chicago, and the Schwob Paul Chamber Orchestra, St. Petersburg A passionate chamber musician, School of Music at Columbus State Philharmonic, Orchestre Symphonique Warner has collaborated with the Warner’s musical studies began at age University in Georgia. de Québec, Cape Town Philharmonic Vermeer and Fine Arts Quartets, and six under the tutelage of Nell Novak, Orchestra, and the Chamber Orchestra of with violinist . Recital work with whom she studied until she joined Philadelphia. Warner has also played with has included performances at the Music Mstislav Rostropovich at the Curtis the Chicago, Boston, Dallas, Montreal, Institute of Chicago’s Nichols Hall, the Institute. Her career took an auspicious and San Francisco Symphonies, the Phillips Collection in Washington, D.C., turn in 1990 when she made her New , Symphony the Isabella Stewart Gardner Museum York debut with the National Symphony (Barbican Center), Berlin Symphony, in Boston, and in Milan and Tokyo. Orchestra conducted by Mstislav Hong Kong Philharmonic, NHK Symphony Rostropovich, playing Shostakovich’s Orchestra, Japan Philharmonic, French A frequent recording artist, Warner First Cello Concerto. She was immediately Radio Philharmonic Orchestra, Iceland released a CD of music by cellist re-engaged to appear with the NSO on a Symphony, L’Orchestre du Capitole de composers David Popper and Gregor North American tour and was the featured Toulouse and L’Orchestre de Paris, Piatigorsky in 2009 on Cedille Records. soloist on the Bamberg Symphony’s

20 21 Irina Nuzova music series such as the Rhode Island performances have been broadcast live Chamber Music Concert Series and on WFMT in Chicago, WGBH in Boston, the Dame Myra Hess Memorial Concert and Italian TV. Series in Chicago. In recital with Irina Nuzova has appeared in recitals Wendy Warner, Nuzova’s performance A native of Moscow, Nuzova made her as a soloist and as a chamber musician venues have included the Music Institute debut with the Omsk Philharmonic at the in the , Europe, and of Chicago, the Phillips Collection in age of 14. Before moving to the United South America. Critics have applauded Washington, D.C., the Rockefeller States, she studied at the Gnessin her “rise above mere virtuosity” (The Tri-Institution concert series in New York, Academy of Music under the guidance Washington Post), “intensity of feeling” and Music in the Park in St. Paul. of Alexander Satz. She continued her (La Nazione, Italy), and “profound musical education at the Manhattan interpretation” (Il Resto de Carlino, Bologna). The recipient of the Bruce Hungerford School of Music with Lev Natochenny, In Europe, Nuzova has performed at Award at the Young Concert Artist and at Juilliard where her teachers the Amici della Musica Concert Series Auditions in New York, Nuzova has won were Oxana Yablonskaya and Jerome in Florence; Teatro Massima in Catania, top prizes in competitions such as the Lowenthal. To further herself as a musician Italy; Hermitage State Museum in Vincenzo Bellini and Citta di Senigallia she worked for many years in the cello St. Petersburg; the Moscow Conservatory, International Competitions in Italy and studio of Harvey Shapiro at Juilliard and and in the Netherlands. In the United the Beethoven International pursued individual studies with pianists States she has played among other Competition in Memphis, Tennessee. Jean-Bernard Pommier, Eteri Andjaparidze venues at the Phillips Collection in As a chamber musician, she has won top and Vladimir Feltsman. Ms. Nuzova Washington, D.C., and at Carnegie Hall’s prizes at the Vittorio Gui and the Premio earned her Doctorate of Musical Arts Weill Recital Hall and the Kosciuszko Trio di Trieste International Chamber degree from the Hartt School of Music Foundation in New York; and at chamber Music Competitions in Italy. Nuzova’s (University of Hartford, Connecticut).

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