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Alexander Trostianski Dmitry Yablonsky Born in Novosibirsk in 1972 to a musical family, the violinist Alexander Trostianski attended the Novosibirsk Dmitry Yablonsky was born in 1962 into a musical family. His mother, , is a highly regarded DVO¤ÁK Conservatory’s Special Music School. He entered the Conservatory in 1990, where he received his concert pianist, and his father is a principal oboist with the Moscow Radio and Television Orchestra. He entered undergraduate degree and undertook doctoral studies. He is a prize-winner of several prestigious international the Central School of Music for Gifted Children in Moscow at the age of six, and at the age of nine made his competitions. He won the Premio Paganini in Genoa in 1990, was awarded First Prize at the 1996 Centre d’Arts orchestral début with Haydn’s Concerto in C major. In 1977, he and his mother emigrated to the United competition in Orford, Canada, and received Fifth Prize at the Tchaikovsky International Competition in Moscow States, where he studied at the Juilliard School of Music, the Curtis Institute, and . His principal American Suite in 1998. As a soloist he has participated in the Moscow Autumn, Musik im Michel, December Evenings (named in cello teachers have been Isaak Buravsky, Stefan Kalianov, and . Dmitry Yablonsky has honour of Sviatoslav Richter), and other festivals. He has also appeared in recital and as a soloist with orchestras performed in many prestigious venues throughout the world, including La Scala, Milan, the Concertgebouw in the in Bulgaria, Canada, the Czech Republic, Germany, the United Kingdom, Luxembourg, Macedonia, Poland, Netherlands, the Great Hall of Moscow Conservatory, and St Petersburg Philharmonic Hall, in addition to Silent Woods • Prague Waltzes • Mazurka Slovenia, Turkey, the United States, France, and throughout . He appeared with the Moscow Soloists numerous appearances in the United States, including concerts at Lincoln Center and Carnegie Hall. He has Chamber Orchestra, conducted by Yuri Bashmet, on its 1996 tour to the United States. appeared in collaboration with major orchestras and conductors, and together with chamber music partners of Dmitry Yablonsky, Cello • Alexander Trostianski, Violin distinction. His interest in began at Yale, when he studied with Otto-Werner Müller and also with Yuri Simonov. He made his début as a conductor in 1990 with the Santa Cecilia Orchestra of Rome. In 1999 he was named Principal Guest Conductor of the Moscow Philharmonic Orchestra, and has appeared as guest conductor Russian Philharmonic Orchestra • Dmitry Yablonsky with orchestras in Europe and in the Far East, and was for three years Principal Guest Conductor of the Moscow Symphony Orchestra. In 1998 he founded the summer Puigcerda Festival on the French-Spanish border, and in 2002 became Principal Conductor of the Russian Philharmonic Orchestra. His many recordings, both as a cellist and as a conductor, include a number of releases for Naxos and Marco Polo. Russian Philharmonic Orchestra

The Russian Philharmonic Orchestra is firmly rooted in Russia’s rich musical traditions, and has achieved an impressive and outstanding musical quality by drawing its musicians from the highest ranks of Russia’s most famous orchestras such as the Moscow Radio Symphony Orchestra, the Russian National Orchestra and the State Symphony Orchestra. Like the Philharmonia Orchestra of London, the Russian Philharmonic Orchestra was originally formed as a recording ensemble and has gone on to receive high acclaim also for its concert performances. In addition to regular recordings for leading international companies, the orchestra has undertaken tours to Turkey, Austria, Germany, China, Taiwan, Finland and elsewhere.

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Antonín Antonín Dvofiák (1841-1904) composed. He died in Prague in 1904. Wihan, and it was included in the Prague programme DVO¤ÁK American Suite • Silent Woods • Prague Waltzes • Mazurka for violin and orchestra Dvofiák’s orchestral works include a number of of March 1892, in a version for cello and piano. (1841-1904) arrangements of compositions originally designed for Dvofiák, it will be recalled, had years of experience Antonín Dvofiák was born in 1841, the son of a butcher was of material assistance. It was through this contact smaller forces. His Mazurka, Op. 49, was written in in lighter music, as an orchestral player in Karel and innkeeper in the village of Nelahozeves, near the that, impressed by Dvofiák’s Moravian Duets entered February 1879 for violin and piano and also effectively Komzák’s band. His Polonaise in E flat major was 1 Mazurka for violin and orchestra, Op. 49 (B90) 6:14 Bohemian town of Kralupy, some forty miles north of for the award of 1877, Brahms was able to arrange for arranged by the composer for violin and orchestra. The written in late December 1879 and heard on 6th 2 Rondo for cello and orchestra, Op. 94 (B181) 6:15 Prague. It was natural that he should at first have been their publication by Simrock, who commissioned a work was dedicated to the violinist Pablo Sarasate and January 1880, among the celebrations usual for the expected to follow the family trade, as the eldest son. further work, Slavonic Dances, for piano duet. The first heard in Prague in the following month. Epiphany. His Five Prague Waltzes were written a Seven Interludes for small orchestra, B15 His musical abilities, however, soon became apparent success of these publications introduced Dvofiák’s The Rondo in G minor for cello and orchestra, week or so earlier, to be heard on 28th December. The 3 I Capriccio: Allegro risoluto 3:43 and were encouraged by his father. After primary music to a much wider public, for which it held some Op. 94, was written in October 1893, an arrangement Polka in B flat major was written in December 1880 4 II Andante sostenuto 2:21 schooling he was sent to lodge with an uncle in Zlonice exotic appeal. As his reputation grew, there were visits of the earlier work for cello and piano that he had for a Prague students’ ball on 6th January 1881. and was there able to gain the then necessary to Germany and to England, where he was always completed in December 1891. It was designed for the The Nocturne was arranged first for violin and 5 III Con molta espressione 4:22 knowledge of German and improve his abilities as a received with greater enthusiasm than might initially cellist Hanu‰ Wihan, who had joined the teaching staff piano from the Andante religoso slow movement of 6 IV Allegro con brio 2:35 musician, hitherto acquired at home in the village band have been accorded a Czech composer in Vienna. of Prague Conservatory in 1887. It was to Wihan that String Quartet No. 4 in E minor, and forms the basis of 7 V Allegro assai 3:05 and in church. Further study of German and of music at In 1883 Dvofiák had rejected a tempting proposal Dvofiák dedicated his Cello Concerto of 1895, and with the string orchestra version, apparently completed in Kamenice, a town in northern Bohemia, led to his that he should write a German opera for Vienna. At him that he played the original version of the Rondo in 1875. It was published in 1883 and heard the following 8 VI Serenata: Andantino con moto 3:27 admission in 1857 to the Prague Organ School, where home he continued to contribute to Czech operatic a Prague concert in March 1892. The work is a fine year in London, when it was included in a programme 9 VII Allegro animato 3:47 he studied for the following two years. repertoire, an important element in re-establishing vehicle for a virtuoso performer, and a testimony to conducted by Dvofiák at the Crystal Palace, where On leaving the Organ School, Dvofiák earned his national musical identity. The invitation to take up a Wihan’s technical ability. Elgar was soon to have his first work played in 0 Silent Woods (Klid) for cello and orchestra, Op. 68, No. 5 (B182) 6:05 living as a viola-player in a band under the direction of position in New York was another matter. In 1891 he Dvofiák’s Seven Interludes, scored for small London. ! Polonaise in E flat major, B100 4:59 Karel Komzák, an ensemble that was to form the had become professor of composition at Prague orchestra, were written in January and February 1867, The Suite in A major for piano was completed in nucleus of the Czech Provisional Theatre Orchestra, Conservatory and in the summer of the same year he dating, therefore, from a period when the composer the spring of 1894 and is sometimes known as the @ Nocturne in B major, Op. 40 (B48) 4:37 established in 1862. Four years later Smetana was was invited to become director of the National was employed as a viola-player, playing operas from American Suite It was arranged a year later by Dvofiák appointed conductor at the theatre, where his operas Conservatory of Music in New York, an institution Italian and French repertoire, and, under Smetana, now for orchestra, before his return from America, and Suite in A major ‘American’, Op. 98b (B190) The Brandenburgers in Bohemia and The Bartered intended to foster American music, hitherto dominated starting to tackle more Czech works. There is while he thought well of it, critics have generally found # Andante con moto 3:55 Bride had already been performed. It was not until by musicians from Europe or largely trained there. something patently operatic and dramatic in the first of little good to say of it, although fashions seem now to $ Allegro 3:11 1871 that Dvofiák resigned from the orchestra, devoting Dvofiák’s contribution was seen as that of providing a the pieces. The same mood informs the second, while be changing. The first of the five movements has himself more fully to composition, as his music began blue-print for American national music, following the the third offers a contrast, while still preserving the touches of the American, both in the opening motif and % Moderato: Alla Polacca 3:17

to attract favourable local attention.› In 1873 he married example of Czech national music, which owed so conception of an operatic entr’acte, in an idiom that the rhythmic and melodic ending of the theme. There is ^ Andante 3:13 a former piano pupil, Anna Cermáková, sister of an much to him. The musical results of Dvofiák’s time in would have been very familiar to the composer in the a stormy C sharp minor introduction to the second & Allegro 2:59 actress from the theatre and daughter of a Prague America must lie chiefly in his own compositions, orchestra pit. The fourth is a livelier piece, an movement, before the appearance of a gentler central goldsmith, and in 1874 became organist of the church notably in his Symphony ‘From the New World’, his introduction to a cheerful finale, and the fifth suggests theme, related to the opening figure of the first * Five Prague Waltzes, B99 8:40 of St Adalbert. During this period he continued to American Quartet and American Quintet, his Violin a triumphant and happy scene to come. The sixth piece movement. The musicologist Michael Beckerman has support himself by private teaching, while busy on a Sonatina, and, to a lesser extent, his so-called has an air of gentle lyricism, while the seventh returns drawn attention to other motivic connections between ( Polka in B flat major, Op. 53A/1 (B114) 1:58 series of compositions that gradually became known to American Suite, works that rely strongly on the to the dramatic contrasts of the first, demonstrating, the movements, apparent again in the main theme of a wider circle. European tradition that he had inherited, while making like the other pieces, Dvofiák’s skill in handling the the third movement. Contours familiar from Dvofiák’s Further recognition came to Dvofiák in 1874, when use of melodies and rhythms that might be associated orchestra, however conventional the musical material. other compositions of the American period are heard in his application for an Austrian government award in one way or another with America. By 1895 Dvofiák Klid or Waldesruhe (Silent Woods) was originally the fourth movement and in the final Allegro, linked to brought his music to the attention of the critic Eduard was home for good, resuming work at the Prague the fifth of a set of six pieces for piano duet, Ze ·umavy the others in its main theme and in the pentatonic Hanslick in Vienna and subsequently to that of Conservatory, of which he became director in 1901. (From the Bohemian Forest), completed in January element with which it ends. Brahms, a later member of the examining committee. His final works included a series of symphonic poems 1884. Dvofiák arranged it for cello and orchestra, for The granting of this award for five consecutive years and two more operas, to add to the nine he had already the primary purpose of a concert tour with Hanu‰ Keith Anderson

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Antonín Antonín Dvofiák (1841-1904) composed. He died in Prague in 1904. Wihan, and it was included in the Prague programme DVO¤ÁK American Suite • Silent Woods • Prague Waltzes • Mazurka for violin and orchestra Dvofiák’s orchestral works include a number of of March 1892, in a version for cello and piano. (1841-1904) arrangements of compositions originally designed for Dvofiák, it will be recalled, had years of experience Antonín Dvofiák was born in 1841, the son of a butcher was of material assistance. It was through this contact smaller forces. His Mazurka, Op. 49, was written in in lighter music, as an orchestral player in Karel and innkeeper in the village of Nelahozeves, near the that, impressed by Dvofiák’s Moravian Duets entered February 1879 for violin and piano and also effectively Komzák’s band. His Polonaise in E flat major was 1 Mazurka for violin and orchestra, Op. 49 (B90) 6:14 Bohemian town of Kralupy, some forty miles north of for the award of 1877, Brahms was able to arrange for arranged by the composer for violin and orchestra. The written in late December 1879 and heard on 6th 2 Rondo for cello and orchestra, Op. 94 (B181) 6:15 Prague. It was natural that he should at first have been their publication by Simrock, who commissioned a work was dedicated to the violinist Pablo Sarasate and January 1880, among the celebrations usual for the expected to follow the family trade, as the eldest son. further work, Slavonic Dances, for piano duet. The first heard in Prague in the following month. Epiphany. His Five Prague Waltzes were written a Seven Interludes for small orchestra, B15 His musical abilities, however, soon became apparent success of these publications introduced Dvofiák’s The Rondo in G minor for cello and orchestra, week or so earlier, to be heard on 28th December. The 3 I Capriccio: Allegro risoluto 3:43 and were encouraged by his father. After primary music to a much wider public, for which it held some Op. 94, was written in October 1893, an arrangement Polka in B flat major was written in December 1880 4 II Andante sostenuto 2:21 schooling he was sent to lodge with an uncle in Zlonice exotic appeal. As his reputation grew, there were visits of the earlier work for cello and piano that he had for a Prague students’ ball on 6th January 1881. and was there able to gain the then necessary to Germany and to England, where he was always completed in December 1891. It was designed for the The Nocturne was arranged first for violin and 5 III Con molta espressione 4:22 knowledge of German and improve his abilities as a received with greater enthusiasm than might initially cellist Hanu‰ Wihan, who had joined the teaching staff piano from the Andante religoso slow movement of 6 IV Allegro con brio 2:35 musician, hitherto acquired at home in the village band have been accorded a Czech composer in Vienna. of Prague Conservatory in 1887. It was to Wihan that String Quartet No. 4 in E minor, and forms the basis of 7 V Allegro assai 3:05 and in church. Further study of German and of music at In 1883 Dvofiák had rejected a tempting proposal Dvofiák dedicated his Cello Concerto of 1895, and with the string orchestra version, apparently completed in Kamenice, a town in northern Bohemia, led to his that he should write a German opera for Vienna. At him that he played the original version of the Rondo in 1875. It was published in 1883 and heard the following 8 VI Serenata: Andantino con moto 3:27 admission in 1857 to the Prague Organ School, where home he continued to contribute to Czech operatic a Prague concert in March 1892. The work is a fine year in London, when it was included in a programme 9 VII Allegro animato 3:47 he studied for the following two years. repertoire, an important element in re-establishing vehicle for a virtuoso performer, and a testimony to conducted by Dvofiák at the Crystal Palace, where On leaving the Organ School, Dvofiák earned his national musical identity. The invitation to take up a Wihan’s technical ability. Elgar was soon to have his first work played in 0 Silent Woods (Klid) for cello and orchestra, Op. 68, No. 5 (B182) 6:05 living as a viola-player in a band under the direction of position in New York was another matter. In 1891 he Dvofiák’s Seven Interludes, scored for small London. ! Polonaise in E flat major, B100 4:59 Karel Komzák, an ensemble that was to form the had become professor of composition at Prague orchestra, were written in January and February 1867, The Suite in A major for piano was completed in nucleus of the Czech Provisional Theatre Orchestra, Conservatory and in the summer of the same year he dating, therefore, from a period when the composer the spring of 1894 and is sometimes known as the @ Nocturne in B major, Op. 40 (B48) 4:37 established in 1862. Four years later Smetana was was invited to become director of the National was employed as a viola-player, playing operas from American Suite It was arranged a year later by Dvofiák appointed conductor at the theatre, where his operas Conservatory of Music in New York, an institution Italian and French repertoire, and, under Smetana, now for orchestra, before his return from America, and Suite in A major ‘American’, Op. 98b (B190) The Brandenburgers in Bohemia and The Bartered intended to foster American music, hitherto dominated starting to tackle more Czech works. There is while he thought well of it, critics have generally found # Andante con moto 3:55 Bride had already been performed. It was not until by musicians from Europe or largely trained there. something patently operatic and dramatic in the first of little good to say of it, although fashions seem now to $ Allegro 3:11 1871 that Dvofiák resigned from the orchestra, devoting Dvofiák’s contribution was seen as that of providing a the pieces. The same mood informs the second, while be changing. The first of the five movements has himself more fully to composition, as his music began blue-print for American national music, following the the third offers a contrast, while still preserving the touches of the American, both in the opening motif and % Moderato: Alla Polacca 3:17

to attract favourable local attention.› In 1873 he married example of Czech national music, which owed so conception of an operatic entr’acte, in an idiom that the rhythmic and melodic ending of the theme. There is ^ Andante 3:13 a former piano pupil, Anna Cermáková, sister of an much to him. The musical results of Dvofiák’s time in would have been very familiar to the composer in the a stormy C sharp minor introduction to the second & Allegro 2:59 actress from the theatre and daughter of a Prague America must lie chiefly in his own compositions, orchestra pit. The fourth is a livelier piece, an movement, before the appearance of a gentler central goldsmith, and in 1874 became organist of the church notably in his Symphony ‘From the New World’, his introduction to a cheerful finale, and the fifth suggests theme, related to the opening figure of the first * Five Prague Waltzes, B99 8:40 of St Adalbert. During this period he continued to American Quartet and American Quintet, his Violin a triumphant and happy scene to come. The sixth piece movement. The musicologist Michael Beckerman has support himself by private teaching, while busy on a Sonatina, and, to a lesser extent, his so-called has an air of gentle lyricism, while the seventh returns drawn attention to other motivic connections between ( Polka in B flat major, Op. 53A/1 (B114) 1:58 series of compositions that gradually became known to American Suite, works that rely strongly on the to the dramatic contrasts of the first, demonstrating, the movements, apparent again in the main theme of a wider circle. European tradition that he had inherited, while making like the other pieces, Dvofiák’s skill in handling the the third movement. Contours familiar from Dvofiák’s Further recognition came to Dvofiák in 1874, when use of melodies and rhythms that might be associated orchestra, however conventional the musical material. other compositions of the American period are heard in his application for an Austrian government award in one way or another with America. By 1895 Dvofiák Klid or Waldesruhe (Silent Woods) was originally the fourth movement and in the final Allegro, linked to brought his music to the attention of the critic Eduard was home for good, resuming work at the Prague the fifth of a set of six pieces for piano duet, Ze ·umavy the others in its main theme and in the pentatonic Hanslick in Vienna and subsequently to that of Conservatory, of which he became director in 1901. (From the Bohemian Forest), completed in January element with which it ends. Brahms, a later member of the examining committee. His final works included a series of symphonic poems 1884. Dvofiák arranged it for cello and orchestra, for The granting of this award for five consecutive years and two more operas, to add to the nine he had already the primary purpose of a concert tour with Hanu‰ Keith Anderson

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Antonín Antonín Dvofiák (1841-1904) composed. He died in Prague in 1904. Wihan, and it was included in the Prague programme DVO¤ÁK American Suite • Silent Woods • Prague Waltzes • Mazurka for violin and orchestra Dvofiák’s orchestral works include a number of of March 1892, in a version for cello and piano. (1841-1904) arrangements of compositions originally designed for Dvofiák, it will be recalled, had years of experience Antonín Dvofiák was born in 1841, the son of a butcher was of material assistance. It was through this contact smaller forces. His Mazurka, Op. 49, was written in in lighter music, as an orchestral player in Karel and innkeeper in the village of Nelahozeves, near the that, impressed by Dvofiák’s Moravian Duets entered February 1879 for violin and piano and also effectively Komzák’s band. His Polonaise in E flat major was 1 Mazurka for violin and orchestra, Op. 49 (B90) 6:14 Bohemian town of Kralupy, some forty miles north of for the award of 1877, Brahms was able to arrange for arranged by the composer for violin and orchestra. The written in late December 1879 and heard on 6th 2 Rondo for cello and orchestra, Op. 94 (B181) 6:15 Prague. It was natural that he should at first have been their publication by Simrock, who commissioned a work was dedicated to the violinist Pablo Sarasate and January 1880, among the celebrations usual for the expected to follow the family trade, as the eldest son. further work, Slavonic Dances, for piano duet. The first heard in Prague in the following month. Epiphany. His Five Prague Waltzes were written a Seven Interludes for small orchestra, B15 His musical abilities, however, soon became apparent success of these publications introduced Dvofiák’s The Rondo in G minor for cello and orchestra, week or so earlier, to be heard on 28th December. The 3 I Capriccio: Allegro risoluto 3:43 and were encouraged by his father. After primary music to a much wider public, for which it held some Op. 94, was written in October 1893, an arrangement Polka in B flat major was written in December 1880 4 II Andante sostenuto 2:21 schooling he was sent to lodge with an uncle in Zlonice exotic appeal. As his reputation grew, there were visits of the earlier work for cello and piano that he had for a Prague students’ ball on 6th January 1881. and was there able to gain the then necessary to Germany and to England, where he was always completed in December 1891. It was designed for the The Nocturne was arranged first for violin and 5 III Con molta espressione 4:22 knowledge of German and improve his abilities as a received with greater enthusiasm than might initially cellist Hanu‰ Wihan, who had joined the teaching staff piano from the Andante religoso slow movement of 6 IV Allegro con brio 2:35 musician, hitherto acquired at home in the village band have been accorded a Czech composer in Vienna. of Prague Conservatory in 1887. It was to Wihan that String Quartet No. 4 in E minor, and forms the basis of 7 V Allegro assai 3:05 and in church. Further study of German and of music at In 1883 Dvofiák had rejected a tempting proposal Dvofiák dedicated his Cello Concerto of 1895, and with the string orchestra version, apparently completed in Kamenice, a town in northern Bohemia, led to his that he should write a German opera for Vienna. At him that he played the original version of the Rondo in 1875. It was published in 1883 and heard the following 8 VI Serenata: Andantino con moto 3:27 admission in 1857 to the Prague Organ School, where home he continued to contribute to Czech operatic a Prague concert in March 1892. The work is a fine year in London, when it was included in a programme 9 VII Allegro animato 3:47 he studied for the following two years. repertoire, an important element in re-establishing vehicle for a virtuoso performer, and a testimony to conducted by Dvofiák at the Crystal Palace, where On leaving the Organ School, Dvofiák earned his national musical identity. The invitation to take up a Wihan’s technical ability. Elgar was soon to have his first work played in 0 Silent Woods (Klid) for cello and orchestra, Op. 68, No. 5 (B182) 6:05 living as a viola-player in a band under the direction of position in New York was another matter. In 1891 he Dvofiák’s Seven Interludes, scored for small London. ! Polonaise in E flat major, B100 4:59 Karel Komzák, an ensemble that was to form the had become professor of composition at Prague orchestra, were written in January and February 1867, The Suite in A major for piano was completed in nucleus of the Czech Provisional Theatre Orchestra, Conservatory and in the summer of the same year he dating, therefore, from a period when the composer the spring of 1894 and is sometimes known as the @ Nocturne in B major, Op. 40 (B48) 4:37 established in 1862. Four years later Smetana was was invited to become director of the National was employed as a viola-player, playing operas from American Suite It was arranged a year later by Dvofiák appointed conductor at the theatre, where his operas Conservatory of Music in New York, an institution Italian and French repertoire, and, under Smetana, now for orchestra, before his return from America, and Suite in A major ‘American’, Op. 98b (B190) The Brandenburgers in Bohemia and The Bartered intended to foster American music, hitherto dominated starting to tackle more Czech works. There is while he thought well of it, critics have generally found # Andante con moto 3:55 Bride had already been performed. It was not until by musicians from Europe or largely trained there. something patently operatic and dramatic in the first of little good to say of it, although fashions seem now to $ Allegro 3:11 1871 that Dvofiák resigned from the orchestra, devoting Dvofiák’s contribution was seen as that of providing a the pieces. The same mood informs the second, while be changing. The first of the five movements has himself more fully to composition, as his music began blue-print for American national music, following the the third offers a contrast, while still preserving the touches of the American, both in the opening motif and % Moderato: Alla Polacca 3:17

to attract favourable local attention.› In 1873 he married example of Czech national music, which owed so conception of an operatic entr’acte, in an idiom that the rhythmic and melodic ending of the theme. There is ^ Andante 3:13 a former piano pupil, Anna Cermáková, sister of an much to him. The musical results of Dvofiák’s time in would have been very familiar to the composer in the a stormy C sharp minor introduction to the second & Allegro 2:59 actress from the theatre and daughter of a Prague America must lie chiefly in his own compositions, orchestra pit. The fourth is a livelier piece, an movement, before the appearance of a gentler central goldsmith, and in 1874 became organist of the church notably in his Symphony ‘From the New World’, his introduction to a cheerful finale, and the fifth suggests theme, related to the opening figure of the first * Five Prague Waltzes, B99 8:40 of St Adalbert. During this period he continued to American Quartet and American Quintet, his Violin a triumphant and happy scene to come. The sixth piece movement. The musicologist Michael Beckerman has support himself by private teaching, while busy on a Sonatina, and, to a lesser extent, his so-called has an air of gentle lyricism, while the seventh returns drawn attention to other motivic connections between ( Polka in B flat major, Op. 53A/1 (B114) 1:58 series of compositions that gradually became known to American Suite, works that rely strongly on the to the dramatic contrasts of the first, demonstrating, the movements, apparent again in the main theme of a wider circle. European tradition that he had inherited, while making like the other pieces, Dvofiák’s skill in handling the the third movement. Contours familiar from Dvofiák’s Further recognition came to Dvofiák in 1874, when use of melodies and rhythms that might be associated orchestra, however conventional the musical material. other compositions of the American period are heard in his application for an Austrian government award in one way or another with America. By 1895 Dvofiák Klid or Waldesruhe (Silent Woods) was originally the fourth movement and in the final Allegro, linked to brought his music to the attention of the critic Eduard was home for good, resuming work at the Prague the fifth of a set of six pieces for piano duet, Ze ·umavy the others in its main theme and in the pentatonic Hanslick in Vienna and subsequently to that of Conservatory, of which he became director in 1901. (From the Bohemian Forest), completed in January element with which it ends. Brahms, a later member of the examining committee. His final works included a series of symphonic poems 1884. Dvofiák arranged it for cello and orchestra, for The granting of this award for five consecutive years and two more operas, to add to the nine he had already the primary purpose of a concert tour with Hanu‰ Keith Anderson

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Alexander Trostianski Dmitry Yablonsky Born in Novosibirsk in 1972 to a musical family, the violinist Alexander Trostianski attended the Novosibirsk Dmitry Yablonsky was born in 1962 into a musical family. His mother, Oxana Yablonskaya, is a highly regarded DVO¤ÁK Conservatory’s Special Music School. He entered the Moscow Conservatory in 1990, where he received his concert pianist, and his father is a principal oboist with the Moscow Radio and Television Orchestra. He entered undergraduate degree and undertook doctoral studies. He is a prize-winner of several prestigious international the Central School of Music for Gifted Children in Moscow at the age of six, and at the age of nine made his competitions. He won the Premio Paganini in Genoa in 1990, was awarded First Prize at the 1996 Centre d’Arts orchestral début with Haydn’s Cello Concerto in C major. In 1977, he and his mother emigrated to the United competition in Orford, Canada, and received Fifth Prize at the Tchaikovsky International Competition in Moscow States, where he studied at the Juilliard School of Music, the Curtis Institute, and Yale University. His principal American Suite in 1998. As a soloist he has participated in the Moscow Autumn, Musik im Michel, December Evenings (named in cello teachers have been Isaak Buravsky, Stefan Kalianov, Aldo Parisot and Zara Nelsova. Dmitry Yablonsky has honour of Sviatoslav Richter), and other festivals. He has also appeared in recital and as a soloist with orchestras performed in many prestigious venues throughout the world, including La Scala, Milan, the Concertgebouw in the in Bulgaria, Canada, the Czech Republic, Germany, the United Kingdom, Luxembourg, Macedonia, Poland, Netherlands, the Great Hall of Moscow Conservatory, and St Petersburg Philharmonic Hall, in addition to Silent Woods • Prague Waltzes • Mazurka Slovenia, Turkey, the United States, France, and throughout Russia. He appeared with the Moscow Soloists numerous appearances in the United States, including concerts at Lincoln Center and Carnegie Hall. He has Chamber Orchestra, conducted by Yuri Bashmet, on its 1996 tour to the United States. appeared in collaboration with major orchestras and conductors, and together with chamber music partners of Dmitry Yablonsky, Cello • Alexander Trostianski, Violin distinction. His interest in conducting began at Yale, when he studied with Otto-Werner Müller and also with Yuri Simonov. He made his début as a conductor in 1990 with the Santa Cecilia Orchestra of Rome. In 1999 he was named Principal Guest Conductor of the Moscow Philharmonic Orchestra, and has appeared as guest conductor Russian Philharmonic Orchestra • Dmitry Yablonsky with orchestras in Europe and in the Far East, and was for three years Principal Guest Conductor of the Moscow Symphony Orchestra. In 1998 he founded the summer Puigcerda Festival on the French-Spanish border, and in 2002 became Principal Conductor of the Russian Philharmonic Orchestra. His many recordings, both as a cellist and as a conductor, include a number of releases for Naxos and Marco Polo. Russian Philharmonic Orchestra

The Russian Philharmonic Orchestra is firmly rooted in Russia’s rich musical traditions, and has achieved an impressive and outstanding musical quality by drawing its musicians from the highest ranks of Russia’s most famous orchestras such as the Moscow Radio Symphony Orchestra, the Russian National Orchestra and the State Symphony Orchestra. Like the Philharmonia Orchestra of London, the Russian Philharmonic Orchestra was originally formed as a recording ensemble and has gone on to receive high acclaim also for its concert performances. In addition to regular recordings for leading international companies, the orchestra has undertaken tours to Turkey, Austria, Germany, China, Taiwan, Finland and elsewhere.

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Alexander Trostianski Dmitry Yablonsky Born in Novosibirsk in 1972 to a musical family, the violinist Alexander Trostianski attended the Novosibirsk Dmitry Yablonsky was born in 1962 into a musical family. His mother, Oxana Yablonskaya, is a highly regarded DVO¤ÁK Conservatory’s Special Music School. He entered the Moscow Conservatory in 1990, where he received his concert pianist, and his father is a principal oboist with the Moscow Radio and Television Orchestra. He entered undergraduate degree and undertook doctoral studies. He is a prize-winner of several prestigious international the Central School of Music for Gifted Children in Moscow at the age of six, and at the age of nine made his competitions. He won the Premio Paganini in Genoa in 1990, was awarded First Prize at the 1996 Centre d’Arts orchestral début with Haydn’s Cello Concerto in C major. In 1977, he and his mother emigrated to the United competition in Orford, Canada, and received Fifth Prize at the Tchaikovsky International Competition in Moscow States, where he studied at the Juilliard School of Music, the Curtis Institute, and Yale University. His principal American Suite in 1998. As a soloist he has participated in the Moscow Autumn, Musik im Michel, December Evenings (named in cello teachers have been Isaak Buravsky, Stefan Kalianov, Aldo Parisot and Zara Nelsova. Dmitry Yablonsky has honour of Sviatoslav Richter), and other festivals. He has also appeared in recital and as a soloist with orchestras performed in many prestigious venues throughout the world, including La Scala, Milan, the Concertgebouw in the in Bulgaria, Canada, the Czech Republic, Germany, the United Kingdom, Luxembourg, Macedonia, Poland, Netherlands, the Great Hall of Moscow Conservatory, and St Petersburg Philharmonic Hall, in addition to Silent Woods • Prague Waltzes • Mazurka Slovenia, Turkey, the United States, France, and throughout Russia. He appeared with the Moscow Soloists numerous appearances in the United States, including concerts at Lincoln Center and Carnegie Hall. He has Chamber Orchestra, conducted by Yuri Bashmet, on its 1996 tour to the United States. appeared in collaboration with major orchestras and conductors, and together with chamber music partners of Dmitry Yablonsky, Cello • Alexander Trostianski, Violin distinction. His interest in conducting began at Yale, when he studied with Otto-Werner Müller and also with Yuri Simonov. He made his début as a conductor in 1990 with the Santa Cecilia Orchestra of Rome. In 1999 he was named Principal Guest Conductor of the Moscow Philharmonic Orchestra, and has appeared as guest conductor Russian Philharmonic Orchestra • Dmitry Yablonsky with orchestras in Europe and in the Far East, and was for three years Principal Guest Conductor of the Moscow Symphony Orchestra. In 1998 he founded the summer Puigcerda Festival on the French-Spanish border, and in 2002 became Principal Conductor of the Russian Philharmonic Orchestra. His many recordings, both as a cellist and as a conductor, include a number of releases for Naxos and Marco Polo. Russian Philharmonic Orchestra

The Russian Philharmonic Orchestra is firmly rooted in Russia’s rich musical traditions, and has achieved an impressive and outstanding musical quality by drawing its musicians from the highest ranks of Russia’s most famous orchestras such as the Moscow Radio Symphony Orchestra, the Russian National Orchestra and the State Symphony Orchestra. Like the Philharmonia Orchestra of London, the Russian Philharmonic Orchestra was originally formed as a recording ensemble and has gone on to receive high acclaim also for its concert performances. In addition to regular recordings for leading international companies, the orchestra has undertaken tours to Turkey, Austria, Germany, China, Taiwan, Finland and elsewhere.

8.557352 5 6 8.557352 557352 rr Dvorak US 1/11/2004 11:38am Page 1 N N AXOS Dvofiák was a composer steeped in the national and folk music of his Bohemian homeland, AXOS and his orchestral music combines a broad and soulful melodic sweep with sparkling orchestration. This disc of orchestral miniatures and music in a lighter vein features a number of arrangements of compositions originally designed for smaller forces. These include the Mazurka for violin and orchestra and the two concertante works for cello and DDD orchestra. The Suite in A, sometimes known as the American Suite, was originally DVO 8.557352 DVO conceived for piano and orchestrated by the composer before his return from America. Antonín Playing Time ¤ 78:42 ¤ ÁK: DVO¤ÁK ÁK: (1841-1904) American Suite • Silent Woods American Suite American Suite • Silent Woods 1 Mazurka 0 Silent Woods (Klid) for violin and orchestra 6:14 for cello and orchestra 6:05 ! Polonaise in E flat major 4:59 2 Rondo @ Nocturne in B major 4:37 for cello and orchestra 6:15 www.naxos.com Made in Canada Booklet notes in English h #-& American Suite 16:34 Naxos Rights International Ltd. 3 9 * Five Prague Waltzes 8:40 & - Seven Interludes g

for small orchestra 23:20 ( Polka in B flat major 1:58 2004 Dmitry Yablonsky, Cello • Alexander Trostianski, Violin Russian Philharmonic Orchestra • Dmitry Yablonsky Recorded in Studio No. 5, Radio House Moscow, from 10th to 12th October 2003 Producer: Lubov Doronina • Editor: Pavel Lavrenenkov • Engineer: Alexander Karasev Booklet Notes: Keith Anderson Cover Picture: View of Prague from Letna, 1925 by Ignacy Pinkas (1888-1935) (National Museum in Cracow, Poland / Bridgeman Art Library) 8.557352 8.557352 A full track list can be found on page 2 of the booklet NAXOS RADIO Over 50 Channels of • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality