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572382bk Suzuki5:570034bk Hasse 9/2/10 4:06 PM Page 12 Also available in the Suzuki Evergreens series ... Takako Nishizaki plays Suzuki Evergreens Volume 5 8.572378 8.572379 8.572380 La Folia (Corelli, arr. Suzuki) Violin Sonatas Nos. 3 and 4 (Handel) Gavottes I and II (Rameau) Allegro (Fiocco) C M 8.572381 8.572383 8.572494 Y K 8.572382 12 572382bk Suzuki5:570034bk Hasse 9/2/10 4:06 PM Page 2 Top, from left to right: Takako in concert, 1953 Shinji Nishizaki’s students playing for Isaac Stern; Takako second from left, front row; 1954 Shinji Nishizaki and Shinichi Suzuki at Takako’s first homecoming concert, 1964 Shinichi Suzuki congratulating Takako on stage after 1964 homecoming concert Bottom, from left to right: Shinji Nishizaki’s students playing for Joseph Szigeti, 1953 Shinji Nishizaki’s students playing for Sir Malcolm Sargent, 1953 Shinji Nishizaki (left) with Shinichi Suzuki in Matsumoto, 1953/54 Takako’s father and mother in Hong Kong, 1992 All photos courtesy of Takako Nishizaki except where stated 8.572382 2 11 8.572382 572382bk Suzuki5:570034bk Hasse 9/2/10 4:06 PM Page 2 Top, from left to right: Takako in concert, 1953 Shinji Nishizaki’s students playing for Isaac Stern; Takako second from left, front row; 1954 Shinji Nishizaki and Shinichi Suzuki at Takako’s first homecoming concert, 1964 Shinichi Suzuki congratulating Takako on stage after 1964 homecoming concert Bottom, from left to right: Shinji Nishizaki’s students playing for Joseph Szigeti, 1953 Shinji Nishizaki’s students playing for Sir Malcolm Sargent, 1953 Shinji Nishizaki (left) with Shinichi Suzuki in Matsumoto, 1953/54 Takako’s father and mother in Hong Kong, 1992 All photos courtesy of Takako Nishizaki except where stated 8.572382 2 11 8.572382 572382bk Suzuki5:570034bk Hasse 9/2/10 4:06 PM Page 10 Takako Nishizaki plays Suzuki Evergreens Volume 5 1 La Folia (Corelli, arr. Suzuki) 7:06 2 La Folia, Op. 5, No. 12 (Corelli) 6:35 Sonata No. 3 in F major (Handel) 3 Adagio 4:43 4 Allegro 3:22 5 Largo 4:56 6 Allegro 3:29 7 Allegro (Fiocco) 3:10 8 Gavottes I and II (Rameau) 3:24 Sonata No. 4 in D major (Handel) 9 Affettuoso 4:01 0 Allegro 2:45 ! Larghetto 3:36 @ Allegro 2:48 Takako Nishizaki, Violin, with Terence Dennis, Piano Additional recordings of original works: François Fernandez, Baroque Violin • Glen Wilson, Harpsichord (2, from Naxos 8.557799) 8.572382 10 3 8.572382 572382bk Suzuki5:570034bk Hasse 9/2/10 4:06 PM Page 10 Takako Nishizaki plays Suzuki Evergreens Volume 5 1 La Folia (Corelli, arr. Suzuki) 7:06 2 La Folia, Op. 5, No. 12 (Corelli) 6:35 Sonata No. 3 in F major (Handel) 3 Adagio 4:43 4 Allegro 3:22 5 Largo 4:56 6 Allegro 3:29 7 Allegro (Fiocco) 3:10 8 Gavottes I and II (Rameau) 3:24 Sonata No. 4 in D major (Handel) 9 Affettuoso 4:01 0 Allegro 2:45 ! Larghetto 3:36 @ Allegro 2:48 Takako Nishizaki, Violin, with Terence Dennis, Piano Additional recordings of original works: François Fernandez, Baroque Violin • Glen Wilson, Harpsichord (2, from Naxos 8.557799) 8.572382 10 3 8.572382 572382bk Suzuki5:570034bk Hasse 9/2/10 4:06 PM Page 4 The fifth volume of the Suzuki Evergreens starts with an generally in the form of sonate da chiesa, a slow movement arrangement by Shinichi Suzuki of Arcangelo Corelli’s followed by a fast movement, a second slow movement variations based on the popular dance, La Folia. Corelli, and a final movement, but containing dance movements. with his twelve sonatas for violin and keyboard, his trio The Sonata in F major has a second slow movement in D sonatas and his dozen concerti grossi, exercised a strong minor and ends with an Allegro in compound time, the influence on his successors, with many of his works equivalent of the gigue that often ended a dance suite. The familiar before his death in Rome in 1713 and their final Sonata in D major has a second movement of contrapuntal publication. His Op. 5, No. 12 is a set of variations on La interest, followed by a B minor Larghetto and a final Folia, a dance that was to form the basis of various movement of varied rhythms. compositions by his contemporaries and successors. The son of the Venetian musician Pietro Antonio There is something paradoxical about Handel’s career. Fiocco, who had settled in Brussels where he held important German by birth, he was invited to England as a composer positions in the musical establishment, Joseph-Hector of Italian opera and in the later years of his life created the Fiocco was born in 1703. He served as sous-maître in the English oratorio. George Frideric Handel was born in Halle court chapel in 1729 or 1730, under his half-brother Jean- in 1685, the son of a well-to-do barber-surgeon by his Joseph, resigning his post in Brussels in 1731 to succeed second wife. His early interest in music was discouraged by Willem De Fesch as sangmeester at Antwerp Cathedral. his father, but after the latter’s death and a short period at In 1737 he returned to Brussels to become master at the Halle University, he left to devote himself fully to music, collegiate church of St Michael and St Gudule, holding this at first as harpsichordist and then as a composer at the position until his death in 1741. His style as a composer Hamburg Opera. From there he moved in 1706 to Italy, combines Italian, French and Flemish influences. The name the source from which his musical style derived, and of Fiocco is known to all violinists as the composer of an remained there for some five years, winning success with Allegro, arranged by others for violin and piano, taken from patrons and in the opera-house. A meeting in Venice with his Pièces de clavecin, Op. 1, a collection of pieces Baron Kielmansegge, Master of Horse to the Elector of suggesting the influence of Couperin and the French Hanover, led to Handel’s appointment as Kapellmeister to clavecinistes. the Elector, from whom he sought immediate leave to visit Jean-Philippe Rameau was the leading French composer London for the staging of his opera Rinaldo. Although he of his time, in particular after the death of Couperin in 1733. returned to Hanover in due course, by 1713 he was again He made a significant and lasting contribution to musical Top, from left to right: in London, his home for the rest of his life. theory. Born in Dijon, two years before the year of birth of Shinji Nishizaki’s students in front of JOCK The violin sonatas attributed to Handel were published Handel, Bach and Domenico Scarlatti, Rameau spent the radio station in Nagoya; Takako second from in London in about 1730 with the false imprint of Roger of earlier part of his career principally as organist at Clermont right, front row; her mother is at far left; 1950 Amsterdam, but in fact by Thomas Walsh, who soon went Cathedral. In 1722 or 1723, however, he settled in Paris, Shinji Nishizaki and Takako at the Suzuki on to publish the sonatas under his own imprint. They are publishing further collections of harpsichord pieces and his summer school in Matsumoto, 1952 described as Opus 1 and include twelve sonatas for treble important Treatise on Harmony, written before his removal Takako’s Graduation Certificate, 1953 instrument and continuo, with the Sonata in F major as to Paris. From 1733 he devoted himself largely to the Op. 1 No. 12. The authenticity of this sonata has been composition of opera and to his work as a theorist, the first Bottom, from left to right: doubted. There is, however, no doubt about the authenticity under the patronage of a rich amateur, in whose house he Shinji Nishizaki conducting annual Suzuki of the famous Sonata in D major, with the later numbering had an apartment. The transcribed Gavottes represent a concert of Nagoya/Osaka area, c.1950 Op. 1, No. 13, HWV 371, which is dated to about 1750. characteristic French dance. Programme of Takako’s Graduation Concert, The sonatas, authentic or not, are in four movements, Keith Anderson 1953 Takako’s Suzuki teaching certificate, 1953 8.572382 4 9 8.572382 572382bk Suzuki5:570034bk Hasse 9/2/10 4:06 PM Page 4 The fifth volume of the Suzuki Evergreens starts with an generally in the form of sonate da chiesa, a slow movement arrangement by Shinichi Suzuki of Arcangelo Corelli’s followed by a fast movement, a second slow movement variations based on the popular dance, La Folia. Corelli, and a final movement, but containing dance movements. with his twelve sonatas for violin and keyboard, his trio The Sonata in F major has a second slow movement in D sonatas and his dozen concerti grossi, exercised a strong minor and ends with an Allegro in compound time, the influence on his successors, with many of his works equivalent of the gigue that often ended a dance suite. The familiar before his death in Rome in 1713 and their final Sonata in D major has a second movement of contrapuntal publication. His Op. 5, No. 12 is a set of variations on La interest, followed by a B minor Larghetto and a final Folia, a dance that was to form the basis of various movement of varied rhythms. compositions by his contemporaries and successors.