50 tracks

ZARA NELSOVA Berlin, 1956 - 1965 ZARA NELSOVA recording: 01-02-1960 / Siemensvilla, Berlin-Lankwitz 01-02-1960 /Siemensvilla, recording: conductor Jochum, Ludwig Georg Radio-Symphonie-Orchester Berlin III. II. I. 1 No. Concerto DARIUS Berlin-Lankwitz 01+02-02-1960 /Siemensvilla, recording: conductor Jochum, Ludwig Georg Radio-Symphonie-Orchester Berlin III. II. I. Aminor, in Concerto Cello 129 Op. ROBERT Berlin-Lankwitz /Siemensvilla, 05-05-1960 recording: conductor Jochum, Ludwig Georg Radio-Symphonie-Orchester Berlin III. II. I. Cello ANTONÍN

Grave Nonchalant lebhaft Sehr Langsam zu schnell Nicht Allegro moderato Finale. non troppo ma Adagio Allegro Joyeux Concerto 6:05 MILHAUD 3:03 SCHUMANN 15:19 3:55 DVOŘÁK 4:31 10:34 in Bminor, in 104 Op. 11:12

, Op. 136, Op. (1892-1974)

(1841-1904) 1 09 11:

(1810-1856) 12:55 ZARA NELSOVA recording: 04-05-1960 / RIAS Funkhaus, Berlin – Studio 7 –Studio Berlin Funkhaus, /RIAS 04-05-1960 recording: VI. V. IV. III. II. I. Dmajor, in Suite 1012 BWV 7 –Studio Berlin Funkhaus, /RIAS 04-05-1960 recording: VI. V. IV. III. II. I. Cmajor, in Suite 1009 BWV 7 –Studio Berlin Funkhaus, /RIAS 30-04-1959 recording: VI. V. IV. III. II. I. Dminor, in Suite 1008 BWV SEBASTIAN JOHANN

Gavotte I-II Gavotte I-II Sarabande Courante Allemande Prélude Gigue I-II Bouree Sarabande Courante Allemande Prélude Gigue I-II Minuetto Sarabande Courante Allemande Prélude Gigue 4:07 3:11 1:51 4:53 3:33 3:49 4:00 3:32 1:36 4:56 4:37 3:39 7:41 3:40 3:04 4:04 4:03 3:23 BACH

(1685-1750) ZARA NELSOVA recording: 30-04-1959 / RIAS Funkhaus, Berlin – Studio 7 –Studio Berlin Funkhaus, /RIAS 30-04-1959 recording: piano Broddack, Lothar III. II. I. Gminor, in Sonata Cello 5/2 Op. 7 –Studio Berlin Funkhaus, /RIAS 30-04-1959 recording: piano Broddack, Lothar II. I. Fmajor, in Sonata Cello 5/1 Op. LUDWIG VAN 7 –Studio Berlin Funkhaus, /RIAS 30-04-1959 recording: piano Broddack, Lothar II. I. Amajor, 4in No. Sonata Cello G4 LUIGI Rondo. Allegro presto Allegro più tosto molto eespressivo sostenuto Adagio Rondo. Allegro 6:32 vivace –Allegro sostenuto Adagio Allegro Adagio BOCCHERINI 3:38 4:12 BEETHOVEN 8:11

(1743-1805) 17:08 5:04 9:11

(1770-1827) ZARA NELSOVA II. I. Dmajor, in Sonata Cello 102/2 Op. LUDWIG VAN recording: 16-05-1956 / RIAS Funkhaus, Berlin – Studio 7 –Studio Berlin Funkhaus, /RIAS 16-05-1956 recording: piano Broddack, Lothar IV. III. II. I. Fmajor, in Sonata Cello 99 Op. JOHANNES 7 –Studio Berlin Funkhaus, /RIAS 30-04-1959 recording: piano Broddack, Lothar III. II. I. 73 Op. Pieces, Fantasy ROBERT recording: piano Balsam, Artur III.

Adagio con molto sentimento d’affetto d’affetto conAdagio sentimento molto Allegro con brio Allegro passionato Allegro passionato affetuoso Adagio Allegro vivace und Feuer mit Rasch leicht Lebhaft, und Ausdruck mit Zart Allegro –Allegro fugato Allegro molto Allegro molto

08-05-1960 / RIAS Funkhaus, Berlin – Studio 7 –Studio Berlin Funkhaus, /RIAS 08-05-1960 SCHUMANN BRAHMS 4:28 6:57 2:47 BEETHOVEN 6:53 7:03 6:05 3:22

2:30 (1833-1897) 4:13 8:21 ZARA NELSOVA recording: 20-09-1965 / Siemensvilla, Berlin-Lankwitz /Siemensvilla, 20-09-1965 recording: conductor Gerd Albrecht, Radio-Symphonie-Orchester Berlin III. II. I. Gminor, 1in No. Concerto Cello 49 Op. DMITRY 7 –Studio Berlin Funkhaus, /RIAS 08-05-1960 recording: piano Balsam, Artur III. II. I. Eminor, in Sonata Cello 38 Op. JOHANNES

Allegretto Allegretto espressivo molto Largo, Allegro Allegro Menuetto quasi Allegretto Allegro non troppo KABALEVSKY 6:40 6:15 6:37 BRAHMS 9:49 5:21

(1904-1987) 5:08 ZARA NELSOVA remembered later. In an interview, she talked in great detail about her encounter with the cellist: “I had been taken to play for Casals Casals for play to taken been had “I cellist: the with encounter her about detail great in talked she later.interview, an In remembered Nelsova myself”, be to me taught “Casals music-making. his of sincerity and simplicity the and charisma by his impressed deeply was cellist young The Festival. Prades the at Casals with worked Nelsova weeks, six For in 1948. fulfilled however,only him, was with study to wish Her twelve. of 1930, in age at the in Casals to played already had Zara Feuermann. Emanuel and Piatigorsky MacMillan. Ernest pianist and Parlow Kathleen violinist with Trio” together “Canadian asecond in played also she time this During Orchestra. phony Pacific. South the and Australia Africa, South and North as Symphony London the afield far as toured – ensemble the alongside successful remained also Lalo Trio” sisters her “Canadian The with Édouard Sargent. by Malcolm under Orchestra Concerto Cello the in soloist the as performance major first her gave she thirteen, soon Zara Anna, and of age Ida the At tours. sisters international Trio”, 1929on from 1939 invited her until “Canadian was existed and the which trio, with a piano formed her. to Together invaluable proved conductor a as experience whose and cellist, fine a was who Barbirolli, John from tuition private received also She talent. young this support to effort every made who Walenn, by Herbert founded School, Violoncello London the entered initially therefore Zara Music. of Academy Royal at the study to young too were however, sisters London; three to the relocated family the 1928, In England. in training their continue to able were musicians young the scholarships, to cello.” Thanks the up take to but option no Ihad youngest the Iwas as and piano, and violin on sisters my two started He practise. how to me taught he words, other In discipline. me taught also he but teacher agreat only not was He me. on a to form a chamber ensemble. Her father and Dezsö a Mahálek, student of David Popper, were Zara’s first formative teachers. In an opera singer, her father a flautist whoencouraged histhree daughters to learnthree different instruments in order to be able women. for cello the of world the conquered Nelsova Pré, du Jacqueline younger the alongside triumphant; and revolutionary was presence commanding Her by players. today’s enjoyed that to pivotal figure inthe history of playingthe cello,making hermark as a soloist whomanaged to build an international a career became similar She era. a new of beginning the however, heralded Nelsova, Zara of appearance The competition. male against survive to hard fight to had who pioneers and exceptions great were composer) the by conducted 1928 in and made Concerto, Cello Elgar’s of recording first the in soloist (the Harrison Beatrice and Suggia Guilhermina cellists British and Portuguese The sight. strange, almost rare, awas this century twentieth the of half first the – during orchestra of in a front symphony big on stage cellist A female Cellists” of Queen “The 1988 interview with Margaret Campbell for for Campbell Margaret with interview 1988 Three great cellists proved important influences upon the artistic development of the young Zara Nelsova: Pablo Casals, Gregor Gregor Casals, Pablo Nelsova: Zara the young of development artistic the upon influences proved important cellists great Three Toronto the of Sym cellist principal the became and to World War, Second returned the of Nelsova outbreak the After was 1918. December 23 grandfather on Her Canada, Winnipeg, in descent Russian of family amusical into born was Nelsova Zara Zara Nelsova (1918-2002) The Strad The , she described her musical childhood: “My father was a tremendous influence influence a tremendous was father “My childhood: musical her , described she - ZARA NELSOVA pieces for cello and piano, piano, and cello for pieces three his performed they together Nelsova; for suites solo three wrote Bloch together. worked they which on cello, for positions Bloch. Ernest composer the with contact close in was she 1940s, late the From Hindemith. by Paul works several as well as Sonata vich Shostako the of premieres 1949, in British gavethe she composers: by contemporary works numerous performed also but repertoire, Romantic and Classical the mastered She ovations. standing with ending regularly Proms the at appearances her York London, and New between stages concert on guest afrequent was Nelsova Zara Cellists”. of Queen “The dubbed was she admiration unconditional With by Saint-Saëns. Concerto Aminor the with Böhm, by Karl conducted Philharmonic, Berlin the with debut her made 1958, she him.”of pictures lovely have I and some together We go fishing to man. used this near be extraordinary. His playing was free of all which artificiality we are unfortunately swamped withtoday. Itwas an inspiration justto were sound his and personality today. is it His as instrument the of popularity the for responsible was who Casals, than more far he, was It out. starting just were who cellists young many on influence tremendous a was he appeared first he When playing. his I when London in Concerts Courtauld-Sargent the in him hearing Iremember York Piatigorsky. New the at Town Iworshipped 1942. “Asin debut achild her for Hall prepare her helped also Piatigorsky since. ever him revered had and London in time first the for cellist Russian the heard had she eleven, of age world.” musical the to loss aterrible was death His always. me with are letter that in said he things And him. from aletter I received I when a performance not is today, there Even extraordinary. quite were instrument the of command total and ease his and musicianship of style impeccable his playing, of style beautiful His years. these with him. I was 23 when it finallyhappened, and although itwas only for four or five weeks, it made an impression on that me lasted all study to I so wanted and ever lived, who cellist greatest the probably was he I think playing. loved his and records his heard had “I ing: same.” the sounds always and motion areflex is vibrato them For this. of aware not are players string Most constantly. alter must which vibrato, of importance the of aware me making except me, tell could he nothing was there technically Again, me. on impression enormous an made musicianship great his and style of simplicity wonderful His process. ing’ a‘purify Icall 1948 in what for weeks six for there stay to me invited he aresult as and agreed, He him. for play Icould if asked and I wrote war the After him. with study to ambition an cherished had ever since and London, in a child I was when Barbirolli by Tita Orchestra, recorded at Kingsway Hall in London in 1955, set new standards. In 1950, she learnt the Cello Concerto by Samuel by Samuel Concerto Cello the 1950, learnt In she 1955, in standards. new set London in Hall Kingsway at recorded Orchestra, Philharmonic London the and Ansermet Ernest with version the these, of –out work the of recordings LP three made sody. Nelsova Bloch had relocated to Oregon, USA, where she visited him. Nelsova soon became the most important interpreter of his com his of interpreter important most the became soon Nelsova him. visited she where USA, Oregon, to relocated had Bloch In time. at that unrivalled was she cellist solo female a performing as zenith: its towards headed Nelsova’s career Zara 1950s, the In Piati by Gregor given classes master attending summers several spent Nelsova defin and intense particularly were cellist legendary the of memories her – Feuermann Emanuel by inspired especially felt Nelsova Zara In a letter, the composer once called Zara Nelsova “Madame Schelomo”: for him, she was the ideal interpreter of his Cello Rhap Cello his of interpreter ideal the was she him, for Schelomo”: “Madame Nelsova Zara called once composer the a letter, In From Jewish Life Jewish From , the tone poem poem tone , the was about eleven. He played the Dvořák and Strauss’ Strauss’ and Dvořák the played He eleven. about was Voice in the Wilderness the Voice in do not feel Feuermann is close to me. In fact, when he died, I dreamt I dreamt died, he when fact, In me. to close is Feuermann feel not do gorsky in Tanglewood and Rockport. At the tender tender the At Tanglewood in Rockport. and ­gorsky , as well as the Hebraic Rhapsody Rhapsody Hebraic the as well , as Don Quixote . I’ll never forget forget never . I’ll Schelomo . - - - - - ZARA NELSOVA instrument. her for written newly work any play immediately would she that remarked once and compositions new in interest a lifelong tained main Nelsova Zara But repertoire. cello the of part form not did Con time, that at 1, (No Cello 1949) which, – works the Kabalevsky are Dmitry noteworthy Particularly time. first the for officially available are which and commercially never recorded Nelsova Zara which works Theyinclude profile. of artistic her impression a more rounded giving illness. along following York 2002 New in died 10 on She October teaching. on focussing appearances, concert her of number the reduced 1990 Nelsova After London. in Music of Academy Royal the and School Juilliard York New the as institutions at such 1962 From taught she pedagogue. cello a passionate also but musician, chamber and soloist Concertos by Dvořák, Lalo and Saint-Saëns (No 1), which sold especially well. However, Zara Nelsova was not only a celebrated Cello the of recordings and Balsam) Artur (with Beethoven van by Ludwig piano and cello for works complete the of a recording others, amongst include, 1950s. These the in made recordings Decca her being collectors) amongst (and desirable famous most the records, of anumber on Reger.documented or is Nelsova’s playing Brahms Beethoven, Bach, in moments music chamber subtle in also but outbursts, ecstatic powerful, in only not and memorable, instantly is tone focussed and earthy full-bodied, Her present. everyone of attention the commanded 1726, of immediately she Corberon” de “Marquis the cello, Stradivarius her behind down sat she as soon as quality; amajestic had presence colour.” Nelsova’s and stage Zara balance richness, wonderful of asound produces Op. Concerto, A minor Schumann’s performed who Nelsova, Zara descent, Russian of cellist Canadian –the stage concert a Munich on appearance first her at applauded much – was evening the of soloist “The Wand: Günter and Philharmonic Munich the with rhythm…” The precise unusually this and prowess instrumental her artistry, Her tone. expressive and beautiful this unforgettable: remain will interpretation her of temperament and Beetho of works 1966, she was the firstAmerican cellistto tour the ; she playedthe CelloSonata bySergei Rachmaninov, alongside composer. the of baton the under Orchestra Symphony New the with together Decca for made was work this of 1950, a recording December In Boult. Adrian alongside premiere European the performing weeks, three only in Barber Translation: Norbert Hornig substantially, discography her 1956 1965, and complement between made Berlin, RIAS of archives sound the from recordings The citi American 1953, took In Nelsova 129. a is She ven and Kodály. After her recital in Moscow, the renowned music critic Lev Ginsburg enthused: “The noblesse noblesse “The enthused: Ginsburg Lev critic music renowned Moscow, in the recital her Kodály. and After ­ven grande dame grande of her instrument, a precious creation from the Stradivarius workshop in Cremona, on which she she which on Cremona, in workshop Stradivarius the from creation aprecious instrument, her of ­zen ship. She appeared on stage for decades, her playing making headlines time and again. In In again. and time headlines making playing her decades, for stage on appeared She ­ship. Süddeutsche Zeitung Zeitung Süddeutsche wrote on 5 February 1969, following Nelsova’s performance 1969, Nelsova’s performance following 5February on wrote certos by Darius Mil Darius by ­certos Viola Scheffel Viola ­haud (No 1, 1934) and and 1934) 1, - ZARA NELSOVA ZARA NELSOVA ZARA NELSOVA ZARA NELSOVA ZARA NELSOVA ZARA NELSOVA ZARA NELSOVA ZARA NELSOVA ZARA NELSOVA

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