Arta muzicală

Liudmila REABOȘAPCA

Dynasties of musicians: pianist Mark Zeltser

Rezumat Dinastii muzicale: pianistul Mark Zeltser

Acest articol este dedicat dinastiilor muzicale M. Pester – M. Zeltser și A. Stadnitschi – T. Voitsehovschi care au inclus un mare aport în dezvoltarea artei muzicale în Republica . Prodigioasa lor activitate pedagogică a contribuit la formarea şcolilor profesioniste interpretative: pianistice, violonistice, vocale. Activitatea de creaţie a pianistului moldo-american Mark Zeltser, unul dintre cei mai vestiţi interpreţi, este un apogeu în dezvoltarea acestor dinastii. Concertele lui, discurile cu cei mai cunoscuți dirijori ca: și Rudolf Barshai au fost incluse în tezaurul artei muzicale. Cuvinte-cheie: dinastie, M. Pester, M. Zeltser, A. Stadnitschi, T. Voitsehovschi, aport, artă muzicală, activitate pedagogică, școli profesioniste interpretative, concerte, discuri, dirijori, Herbert von Karajan, Rudolf Barshai.

Summary Dynasties of musicians: pianist Mark Zeltser

This article is dedicated to the musical dynasties M. Pester – M. Zeltser, A. Stadnitsky – T. Voitsehovsky who contributed greatly to shaping and development of professional performing art in the Republic of Moldova. Their productive teaching activities facilitated the establishment of the national violin, piano, and vocal schools. The successes of the Moldovan-American pianist Mark Zeltser, one of the greatest pianists of our time, area major peak in the development of these dynasties. His concerts, audio recordings with the outstanding conductors Her- bert von Karajan and Rudolf Barshaiare now part of the world wide musical patrimony. Key words: dynasty, M. Pester, M. Zeltser, A. Stadnitsky, T. Voitsehovsky, contribution, musical art, teaching, professional performing schools, concert, audio recordings, conductors, Herbert von Karajan, Rudolf Barshai.

It is a tradition in human society to transfer and was shaping into a separate segment of art, knowledge, expertise and skills between genera- such tradition became prominent in a number of tions. That way the art of music has been success- families where similar artistic professions could fully developed by whole dynasties of composers be seen in each generation; the family names of and performers representing diverse directions and Neaga, Stircea, Aksyonov, Tcaci, Herschfeld, Tush- schools. The musical heritage of Johann Sebastian malov, Shramko, Dailis, Strahilevici, Propiscean Bach, François Couperin, Wolfgang Amadeus Mo- are well known in Moldova. On multiple occa- zart, and could have been sions, hereditary background has been a powerful much less magnificent unless it had been under- driver for the emergence of new talents in music pinned by several generations of musicians – an- and in other spheres of human activity. cestors steadily accumulating expertise and skills As musical education was evolving in Mol- in the same sphere for decades and even centuries. dova, professors coming here to stay and teach in- Moldova also knows a number of artistic dy- cluded more and more professionals educated and nasties. The tradition has started with dynasties of trained in the cultural hubs of – St. Peters- the Moldovan folk musicians – lautari – whose de- burg, Moscow, Vienna, Leipzig, Geneva, and Mi- scendants are still active nowadays in many cases. lan. Mark Pester (1884–1944), a concert violinist, With time, as professional performing emerged conductor, piano soloist, and professor, was among

ARTA  2014 29 this galaxy of musical talents at the headwaters of Mark Pester reproduced from memory the or- the Moldovan national professional arts. Mr Pester chestration of Felix Mendelssohn’s violin concerto finished primary music school in his native town in E minor, Op. 54, Henryk Wieniawski’s Fantaisie of Bender and continued his musical education Brillante sur Faust de Gounod, Op. 20, and Giu- in the Odessa musical college and St. Petersburg seppe Verdi’s Aida (this latter one jointly with Conservatory where he attended classes of the G. Yatsentkovsky). That says much about the dedi- prominent concert violinist Leopold Auer. cation and erudition of the musicians as well as en- After 1922, Mark Pester was professionally vironment in which they had to work” [1, p. 156]. active in the Chisinau conservatories – Unirea Mark Pester was a co-founder (together with Private Conservatory, National Conservatory, the popular opera singer Anastasia Dicescu) of the and Municipal Conservatory. In his book Extracts Opera Studio at Unirea Private Conservatory. His from the history of musical relationships among motto was, „A musician who wants to achieve con- Moldova, Ukraine, and Russia musicologist Bo- tinuous professional development must be able to ris Kotlearov paid a tribute to Mark Pester as an overcome obstacles” [1, p. 155]. Multiple concerts outstanding professor, conductor and violinist „In in which Mark Pester performed with his students addition to the transfer of knowledge as such, he (O. Dain, I. Soroker, B. Cotlearov, M. Cojusner) or made an effort to nurture in his students certain conducted the Opera Studio’s symphonic orches- valuable qualities, such as: love of music, diligence tra invariably attracted big audiences. Thus, a con- and preparedness to work hard” [1, p. 157]. cert was organized in the concert hall of the Epar- The researcher also points out that Mark Pes- chial House to celebrate the end of the 1922–1923 ter „performed as a violinist in solo recitals and academic year and Mark Pester took part in it as a in chamber music concerts together with the city’s violinist and professor. best musicians – pianists I. Guzand, A. Stadnitska, The Opera Studio’s concerts and theatricals cellists G. Yatsentkovsky and M. Schieldkret, vio- were a major cultural event. On 23 December list I. Colbaba. He was the first local violinist to 1928, students from classes of A. Dicescu, Mark perform in Chisinau (with A. Celan as conductor) Pester and M. Berezovski performed in an oper- P. Tchaikovsky’s magnificent Violin Concerto in D atic and symphonic concert in Express Theatre. On major, Op. 35 – a violin piece that requires superb 9 February 1929, the National Theatre saw the first skills from the performer. His performance (to- night of Rigoletto by Giuseppe Verdi (directed by gether with I. Guz) of the Kreutzer sonata by Lud- A. Dicescu and conducted by Mark Pester, with wig van Beethoven was also a memorable event. M. Berezovski as choirmaster). The operatic con- Mark Pester mastered excellent performance tech- cert of 29 January 1929 included fragments from niques but he never went for a formal show of vir- La Traviata by Giuseppe Verdi, Lohengrin by tuoso skills; rather, he was trying to reveal the in- Richard Wagner, Eugene Onegin by P. Tchaikovsky ternal beauty of each piece in the best tradition of and was accompanied by a symphonic orchestra the Russian performing school. Given his in-depth conducted by Mark Pester. His student O. Dain knowledge of the wealth of classical and romantic (violinist) took part in the symphonic and op- pieces and his excellent sense of partnership and eratic concert of 9 January 1930 that presented rhythm, he was an excellent partner to perform fragments from Lakme by Leo Delibes and Aida sonatas, trio and quartet pieces with. by Giuseppe Verdi. On 24 July 1931 Mark Pester For example, Mark Pester’s performance to- conducted a concert where the performers were gether with I. Guz and M. Schieldkret of P. Tchai- students from A. Dicescu’s operatic class. The rep- kovsky’s immortal Piano Trio in A Minor, Op. 50 ertoire included fragments from La Traviata and subtitled In memory of a great artist was much Aida by Giuseppe Verdi, Carmen by Georges Bi- praised for its intimate lyricism and high drama. zet, Faust by Charles Gounod, and Eugene Onegin Mark Pester was often conducting orchestras in by P. Tchaikovsky. During subsequent years Mark concerts. Chisinau had no permanent symphonic Pester was active in the Municipal Conservatory. and operatic orchestra of its own at that time. Or- A major event of that period was a solo recital by chestras for performances were assembled from Mark Pester’s student I. Soroker who performed time to time with much difficulty and mainly due pieces by Ludwig van Beethoven, Niccolo Paga- to altruistic efforts of a team of enthusiasts where nini, Johannes Brahms. On 20 December 1931 the Mark Pester was among the most active members. orchestral class of Mark Pester held a symphonic

30 ARTA  2014 Arta muzicală concert in three parts. The repertoire included ccio Busoni, and at the Bucharest Conservatory Mozart’s First Symphony in E flat major, the over- where she was taught by Florica Musicescu, a ture from Fidelio by Ludwig van Beethoven, and renowned Romanian pianist and musical peda- some arias from Aida, La Traviata, The Demon, gogue. In 1911 Antonina Stadnitska was among and Faust [2, p. 202]. award winners of S. Malozemova music contest. This indicative list of concerts (which is by far She was a professor in Unirea private Conservato- not complete) gives us an idea of the prolific per- ry since 1927. Antonina Stadnitska made a career forming and academic career of this outstanding as a prolific performer and professor. Concert pro- musician, not with standing modest opportunities grams cited in G. Ciaicovschi-Meresanu’s mono- during that time, negligently scanty governmental graph Musical Education in Moldova often include financial support of arts, and his immense love of names of A. Stadnitska’s students – G. Strahilevici, music that has brought to life the above and many E. Tseitlina, T. Andrunachevici (A. Stadnitska’s other artistic events in Chisinau, attracting crowds daughter). On 15 March 1931 T. Andrunachevici of passionate lovers of art and beauty. performed Piano Concerto No. 20in D minor, K. Mark Pester’s daughter Bertha Pester was also 466 in the concert in memory of W. A. Mozart. a trained musician – she completed C. Fainstein’s Antonina Stadnitska-Andrunachevici was a gifted piano course at Unirea Conservatory and then the performer known for her presentation of S. Rach- vocalism course offered by Lidia Lipkowska, a fa- maninoff’s Suite No. 1 (or Fantaisie-Tableaux for mous singer, in the Municipal Conservatory. We two pianos), Op. 5, together with I. Guz [2, p. 32]. often encounter Bertha Pester’s name in programs Basarabia Daily published in early 1939 a review of the concerts organized by the Municipal Con- of the concert with performances „by the most servatory: on 12 December 1937 she performed outstanding musical forces of the Conservatory, P. Tchaikovsky’s Lullaby (Cradle Song), an aria including the singer L. Lipkowska and Professor from Charles Gounod’s Romeo et Juliette; on 3 A. Andronache” [2, p. 92]. December 1938 Mark Pester and Bertha Pester to- Antonina Stadnitska’s daughter, Tatiana An- gether performed Pablo de Sarasate’s Carmen Fan- drunachevici-Voitsekhovska was also a major tasy, Op. 25, on themes from Carmen by Georges contributor to the development of the Moldovan Bizet, in a major concert with participation of con- pianistic school. V. Aksyonov wrote in his article servatory professors. titled Т. Voitsekhovska: The basics of pianistic per- When the Chisinau Conservatory was estab- formance and teaching that „the shaping of T. Voi- lished in 1940, Mark Pester became its first full tsekhovska as a musician was largely determined professor and headed the department of stringed by her mother Antornina M. Stadnitska. Alongside instruments; his daughter continued her stu- with I. Guz, her mother was the most authoritative dies at the Chisinau Conservatory together with professor of music in Chisinau in the first half of S. Lobel, T. Ceban, T. Gurtovoi, A. Stircea, L. Boc- 20th century. Having graduated from the St. Peters- san, G. Tchaikovsky, G. Neaga, E. Bogdanovski, burg Conservatory, she was famous for her excel- L. Ocsinoit, H. Talmatska. During World War II, lent knowledge of Russian music; she opened the Bertha Pester-Zeltser wa sa concertmaster in Doi- door to the world of arts to her daughter T. Voi- na – Moldavian Folk Song and Dance Ensemble tsekhovska and became her first teacher”[3, p. 38]. headed by famous conductor S. Aranov. Mark Pes- Tatiana Andrunachevici-Voitsekhovska studied ter was evacuated to Kokand in Uzbekistan where music at Unirea Conservatory and subsequently at he died on 7 March 1944 – long before his time. the Royal Academy of Music and Drama in Bucha- One more dynasty can be clearly traced in rest where her professor was Florica Musicescu, a Bessarabia’s musical culture of that period. Its his- renowned Romanian pianist and musical peda- tory is closely intertwined with the emergence and gogue, daughter of the renowned composer, con- shaping of the pianistic performing school foun- ductor and musicologist Gavriil Musicescu. Thus ded, among others, by Antonina Stadnitska-An- T. Voitsekhovska developed as a musician under drunachevici. She studied music at St. Petersburg the influence of two fundamental pianistic schools Conservatory (where her professor was Maria Ba- – the Russian and the Western European. These rinova) and subsequently was an intern at the City two directions united in harmony in T. Voitse- of Basel Music Academy in Switzerland where she khovska’s pianistic and professorial personality. took classes from the outstanding pianist Ferru- The repertoire of her students demonstrates her

ARTA  2014 31 focus and priority use of romantic pieces by Fre- as an example and thus making weaker ones want deric Chopin, Ferenc Liszt, Felix Mendelssohn, to improve and compete for leadership. There , P. Tchaikovsky, S. Rachmaninov, was always a leader in her class from whom other and others, and of Wagner – Liszt, Schumann – students wanted to take cue, who they wanted Liszt, and Schubert – Liszt piano transcriptions. to imitate and ultimately to surpass in skills. She T. Voitsekhovska was known as a prolific per- was very democratic in her choice of a repertoire former as early as her student years with Unirea for her students, invariably taking their opinion Conservatory and the Royal Academy of Music in consideration, analyzing thoroughly their per- in Bucharest. In his book Extracts from the his- sonalities and performance strengths, choosing tory of musical relationships among Moldova, the pieces that were close to their temperament. Ukraine, and Russia, musicologist Boris Kot- Her approach to analysis of a musical piece was learov noted that „Performing and teaching was very thorough, in-depth and demanding. After an viewed as two mutually complementing aspects of analysis she made it a point to listen to the per- the same occupation that helped achieve the same formance of the total piece, without any unneces- goal” [1, p. 63]. The concert on 28 October 1939 sary pauses or comments, thus giving her student of a popular singer Lidia Lipkowska accompa- a possibility to fully express the idea behind his or nied by the young pianist Tatiana Andrunachev- her performance without excessive possessiveness ici was a memorable event. T. Voitsekhovska’s or drilling. Tatiana Voitsekhovska had a talent to career started in 1940 and was closely linked reveal the student’s personality and its strengths with the Chisinau Conservatory, Eugen Coca and to develop them in order to expand consid- Music School, and the National Committee of erably the student’s performing repertoire and to Radio, which still has some of her records (Ste- bring her student to a point where he or she could fan Neaga’s Sonata for violin and piano (Sonata independently face the most daring performing pentru vioară și pian) performed together with a challenges. T. Voitsekhovska’s students were de- popular violinist Oscar Dain; Viktor Kosenko’s monstrating the highest performing diversity. She Sonata for Cello and Piano performed together was a distinctive personality herself and so she with Pavel Bachinin). Her professorial class was open as a musician to diverse influences and saw in diverse years a number of known musi- schools. She paid great attention to articulation of cians: V. Aksyonov, R. Scheinfeld, N. Zeltser, sound and the performer’s psychological freedom I. Shramko, L. Stratulat, among others. at the piano. She was accepting each student’s T. Voitsekhovska practiced an amazing ap- right to personal interpretation of the piece and proach to teaching of music and musical educa- personal approach to its performance. Students in tion; she made an effort to cultivate in her stu- her classes were like a large family. She treated her dents love of many hours of laborious practicing. students like her children and wished them well. It She was inspiring them with stories of various is a teacher’s great talent to choose one’s students a composers and details of the historical back- correct repertoire for a concert or a competition. ground for the emergence of diverse pieces. She She was inspiring her students, making them dar- often invited her students to her home where she ing performers, sharing with them her wealth of allowed them to listen to her abundant collection musical knowledge and performing techniques. of records and then discussed the recorded pieces She was invariably sympathetic to her students with them. Her students frequently lingered to of any age. Listeners can differ in their tempera- leave her place after lessons and spent hours leaf- ments similar to performers. Some professors ing through books from her home library that treated a concert as a possibility to find faults and included a large number of albums with repro- drawbacks with their students while T. Voitse- ductions of masterpieces by great artists; her hus- khovska was enjoying each concert as an occasion band, a well known architect A. Voitsekhovsky, to be proud for her students and their successes. was collecting such albums. Thus, in a very un- As Head of Piano Division, she attended all exams obtrusive and subtle way, T. Voi-tsekhovska was and concerts; her amiable disposition and good developing love of good paintings, literature, the- will was determining the general atmosphere in atre and opera in her students, educating them the performing room and facilitating the upsurge as broad-minded and creatively imaginative per- of performing effort on stage and its reception by sonalities. She was pointing at her best students the audience.

32 ARTA  2014 Arta muzicală

Mark Zeltser has doubtless been one of T. Voi- onstrate certain common features. They are singled tsekhovska’s most talented students. He first came out for their high pianistic culture, convincing el- to her class in 1954 and quickly became one of its egance and clarity of the performing concept, ex- acknowledged leaders. The article „Chronicles of cellent sensitivity to musical form, attention to Musical Life in Moldavia” by A. Cavun, a known finishing details, and brilliant virtuosity. Among viola player, in Issue 1 of the monthly Musical Life the most important effectiveness indicators of this in Moldavia for 1959 so summarized on the final class are awards and prizes won in major inter- results of the young performers musical competi- national competitions of young performers. The tion, „The secondary specialized music school in Soviet award winners in more recent competitions Chisinau held a competition for best performance are certain to include a steadily increasing number of a music piece by a Soviet composer. About one of Y. Flier’s students, such as Bella Davidovich, Lev hundred students from this school’s all classes and Vlasenko, ...Mark Zeltser” [5, p. 64]. The above departments entered the competition. The jury characteristic accurately describes Mark Zeltser’s awarded the first places to I. Shramko (from T. Voi- performing style. Y. Flier’s assistant I. Lelchuk said tsekhovska’s piano class) and M. Shor (from E. A. about the characteristic features of his school that Viscautsan’s violin class) among junior participants, „the primary characteristic of Y. Flier’s teaching is a and to pianists R. Fraimovich (from A. Sokovnin’s most close,seamless bond and harmonious alliance class) and M. Zeltser (from T. Voitsekhovska’s pia- between performing and teaching skills. It can be no class) among senior competitors” [4, p. 27]. The concluded that Y. Flier’s teaching is a direct product young pianist’s making as a performer was largely of his artistic concert experience; in other words, determined by his mother Bertha Zeltser. „As re- his performing career cannot be separated from his gards music lessons, she was a strict mother. A pro- professorial career” [5, p. 85]. fessional pianist herself, she knew first-hand what While still a Moscow Conservatory student, patience it took to work laboriously throughout Mark Zeltser entered and won several major com- stale musical drills. This strictness was combined petitions, including the National Competition of with close supervision and assistance with home- Young Performers in Moscow (1965), the Margue- work to her children; it helped shape Mark as a rite Long-Jacques Thibaud Competition in personality capable to face challenges and achieve (1967 Grand Prix), the Ferruccio Busoni Interna- successes. Mark remembered his piano studies with tional Piano Competition in , (1968) his mother at home when he was a small kid. He where he was the fourth. used to ask her how this or that fragment should Having completed his postgraduate training be performed and she often answered, „It should program, Mark Zeltser returned to Chisinau in be performed with talent!” Mark never forgot her 1972 and became a professor of the local Conser- words” [7, p. 161-162] wrote S. Bengelsdorf in his vatory’s piano department and a soloist of the Mol- article „Mark Zeltser on his visit to Moldova”. dovan Philharmonic Orchestra. He taught piano Mark Zeltser made his orchestral debut with for three years. A known pianist and teacher Ar- the chamber orchestra conducted by E. A. Vis- thur Aksyonov singled out Mark Zeltser as his pia- cautsan, performing Haydn (Piano Concerto in no professor, saying that „the time in the class of the D major) and E. Grieg concertos. Musicologist phenomenal pianist Mark Zeltser has been the most G. Ciaicovschi-Meresanu noted that the year 1961 productive of all and I cannot omit expressing my saw a large number of solo recitals by students gratitude and recognition to him” [6, p. 23]. How- in diverse classes of Eugen Coca Music School. ever Moldova’s territory was too small a spring- One of these soloists from the piano department board for an international concert career in case was T. Voitsekhovska’s Year 7 student Mark Zel- of an eminent pianist on such a grand scale. Mark tser [2, p. 136]. Mark Zeltser continued to study Zeltser emigrated to the USA in June 1976. His first music in the class of , a Soviet concert public appearance in Spoleto Festival USA was fol- pianist and teacher (who taught piano at the Mos- lowed by multiple performing tours in Europe and cow Conservatory. In his monograph „Y. V. Flier” the USA. His concerts won enthusiastic acclaim of G. Tsipin describes the characteristic features typi- the audience in Salzburg, Lucerne, Berlin, Edin- cal of performing style of Y. Flier’s all students, burgh, Monte Carlo, New York, Washington, Chi- „Not with standing the great variety of personali- cago. His triumphal first appearance with the New ties all students taught by Y. Flier generally dem- York Philharmonic Orchestra on 20 October 1977

ARTA  2014 33 was to perform S. Prokofiev’s Piano Concerto No. 2 Rhapsody on a Theme of Paganini (Op. 43) and in G minor, Op. 16. Music critics gave praise to this then, as an encore, S. Prokofiev’sSuggestion Dia- former Soviet pianist, pointing out his impressive bolique (from Four pieces for piano, Op. 4), F. Cho- techniques, smooth musical speech and infectious pin’s Nocturne and Fantaisie in F minor (Op. 49). S. temperament. The Titan of the Keyboard, One of Bengelsdorf wrote, „His[Mark Zeltser’s] contracts the greatest pianists of our time, are among the fre- and concert performances worldwide were prevent- quent accolades that music critics and journalists ing him from a visit to Moldova where he wanted in Europe and America have bestowed on him. His to go after 22 years of life overseas. This is where he appearances with the world’s greatest orchestras – was born and made his first steps as a performing the , the Chicago Symphony, pianist in the Chisinau Music School in the class of the , the New York Philhar- an excellent professor Tatiana Voitsekhovska... Now monic, the Bos-ton Symphony, the Montreal or- we have seen a mature pianist, a global scale master chestras, the Royal Philharmonic, to mention just without any limitations in terms of pianistic skills. a few – were hailed by critics and audiences alike Good training in Chisinau and Moscow has com- as major musical events. Mark Zeltser’s recording bined with his inborn virtuosity, imaginative ap- in 1980 with the legendary Herbert von Karajan, proach and expressive temperament to produce this Yo-Yo Ma (cello) and Anne-Sophie Mutter (violin) great musician’s performing style” [7, p. 161-162]. of the Beethoven Triple Concerto on the Deutche On his second visit to Chisinau Mark Zeltser Gramophon (DG) label is featured in the special performed S. Rachmaninoff’s Piano Concerto no. celebrity album to mark the 100th Birthday of the 2 in C minor (Op. 18). „The audience was ecstatic – Berlin Philharmonic as well as in „The Best 100 same as in his first guest concert. Mark Zeltser’s two Classical Recordings of the XX Century”. Judging guest performances in Chisinau have become mem- by his releases of diversely aged recordings, Mark orable events in the city’s cultural life” [7, p. 172]. Zeltser is a virtuoso pianist in the true sense of this The sound recordings library of G. Musicescu term. He was a virtuoso from the very start when Academy of Music includes a record presented by he won an award of the National Competition of Mark Zeltser to Maria Biesu, a known Moldovan Young Performers in Moscow as a sixteen-year old opera performer and prima donna of the Chi- boy. Mark Zeltser’s artistic profile is inconceivable sinau Opera Troup. The record autographed by without mention of his virtuosity, which is truly Mark Zeltser „To dear Maria Biesu, outstanding immense and by far deserves the above-cited acco- performer, from her committed fan’is a collection lades of critics. Virtuosity is an essential character- of Russian piano music masterpieces: S. Proko- istic pervading his performance. His accurate and fiev’s Piano Sonata no. 8 in B flat major, Op. 84, decisive finger movements reveal powerful leonine and Sarcasms, Five Pieces for Piano, Op. 17, as well plasticity in passage work. His personal perform- as M. Balakirev’s Islamey. With Rudolf Barshai as ing style is singled out for its majestic proportions, conductor, Mark Zeltser recorded and released S. inherent strength and serenity. The performer eas- Rachmaninoff’s Rhapsody on a Theme of Paganini ily overcomes pianistic challenges in M. Balakirev’s (Op. 43) and Piano Concerto no. 3 in D minor (Op. Islamey, S. Prokofiev’s Piano Sonata no. 8 in B flat 30) – a task where only a great master can succeed. major, Op. 84, S. Rachmaninoff’s piano concertos At present Mark Zeltser continues his per- no. 2 in C minor (Op. 18) and no. 3 in D minor forming and professorial career inherited from (Op. 30). The pianists avoids affected sound and his family according in the best artistic tradition. exaggerated forte while performing dramatic frag- His daughter Elisabeth Zeltser-Voloshin is a tal- ments. Music critics speak of brilliant virtuosity, ented musician who studied at the prestigious Juil- an avalanche of low basses, but an aspect invari- liard School and is now a violinist with the New ably highlighted is the harmonic manner, artistic York Philharmonic. She continues the artistic of integrity of interpretation, and its symphonic style M. Pester – M. Zeltser and A. Stadnitska – T. Voi- which is particularly prominent in Mark Zeltser’s tsekhovska familial tradition that has contributed performance of the Beethoven Triple Concerto for so much to the development of music culture. piano, violin and cello. Thus, inheriting of an artistic profession ensures Mark Zeltser visited Chisinau twice with continuance between generations which is so vital guest performances. In his first guest concert in in art. Familial traditions facilitate development of December 1998 he performed S. Rachmaninoff’s music as an art and progress of human knowledge.

34 ARTA  2014 Arta muzicală

Bibliographical references

1. Котляров Б. Из истории музыкальных свя- 4. Музыкальная жизнь Молдавии. Кишинев: зей Молдавии, Украины, России. Кишинев: Штиин- Партиздат, 1959. ца, 1982. 5. Цыпин Г. Я. В. Флиер. Москва: Музыка, 1972. 2. Ceaicovschi-Meresanu G. Învătământul muzi- 6. Столяр И. А. Л. Соковнин. Кишинев: Пон- cal din Moldova. Chisinau: GrafemaLibris, 2005. тос, 2008. 3. Аксенов В., Войцеховская Т. А. Принципы 7. Бенгельсдорф С. Жизнь в еврейской культу- фортепианного исполнительства и педагогики. В: ре. Кишинев: Елан Полиграф, 2007. Вопросы теории, истории и методики фортепиан- ного искусства. Кишинев: Штиинца, 1991.

ARTA  2014 35