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Transcript of look inside booklet

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Miniatures & Folklore

23 challenges for cello and piano

Searching for an ideal command of this music is a demanding and

surprisingly delicate task. One must strike a balance between sensitivity and

restraint, between immediacy and structure, between being an orator yet tell-

ing a very intimate story, “speaking” a song or “singing” words … and the

music is always so brief … !

I wished for this recording to become a direct informal provocation to preserve

the spirit of the soloist Miniature; a performing style which developed and

found its short-lived peak in the period between the end of the 19th century

and World War II; a style as rich and refined as any other major movement in

he history of musical interpretationt; a style which gently invites each one of

us, players and audience, to further explore and develop its virtues.

Having been born into a Russian family and growing up within an Israeli im-

migrant community, I was exposed to many ethnic idioms, absorbing from my

multicultural musical surroundings. Thus, I found myself trying to unite these

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short compositions with the foreign musical dialects from which they emerged.

Imitating the plain tonal flair of a folk instrument, a wild laugh, a lonely prayer,

peaceful whistling, a barefoot dance and even the braying of a French donkey,

served as a compass for me, to show the way to create this compilation of

colorful musical sketches for the cello.

Miniature

An old art genre and performing

style, where a common cultural

standard is reduced (/compressed )

into an easily understood compact

imitative form.

Folklore

The natural origin of art itself.

In music, the global “aural village”

most composers referred to

when they wanted to write music

of humanity.

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My hope is that listening to this selection of short pieces and to the playful

dialog between them will add a new spiritual dimension to a lost tradition of

our instrumental grammar; a grammar which is still an essential part of the

unwritten mythology of virtuoso and classic-improvisatory playing.

Gavriel Lipkind

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laurance lesser

President Emeritus, New England ConservatoryCello & Chamber Music Faculty

[…] Rather than go through the pieces one-by-one, let me tell you

why I think this recording is such an important endeavor.

I grew up in a musical family in Los Angeles, the grandchild of eastern

European Jewish immigrants. In my mother’s youth (she was a conservatory-

trained pianist), one went to hear all the visiting artists and in-between we

collected their 78 rpm recordings. Classical music was everywhere. Hollywood

and the Holocaust had combined to give my community countless musical

riches and the paradise climate had attracted major artists to the area as well.

The names of Igor Stravinsky, Arnold Schoenberg, Arthur Rubinstein, Jascha

Heifetz, Gregor Piatigorsky, Thomas Mann only begin the list.

The first solo recital concerts I remember hearing always had a “heavy” first

half and after intermission a collection of shorter pieces. These latter were

the ones I knew from my mother’s 78’s and we always looked forward to that

part of the program because it was there that the artist truly revealed himself.

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Heifetz’s Brahms Concerto at the Hollywood Bowl was wonderful, but when

as an encore he played a Hungarian Dance by the same composer, we smiled,

relaxed and reveled in his special way with this kind of music.

But at the same time a quiet revolution was taking place in programming.

Great artists like Schnabel attracted audiences for all Beethoven sonata pro-

grams. “Serious” music became the order of the day. To be sure, we studied

and learned all the little pieces as instrumentalists and maybe we would play

one as an encore, but gradually the ability to play short works languished.

What is so special about playing little pieces? I guess it’s like the

difference between big novels and short stories. You have only a few minutes to

reveal a character or a mood or a world. It’s not one bit easier than the big piece.

In fact, in a way, it’s even harder. One false move and the mood is gone.

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Now, here we are in the 21st century. Everyone talks about “sound bites,” and

“15 minutes of fame.” Everyone talks about the graying of the classical music

audience. Everyone talks about diversity and the many cultures of the world.

What is the answer? I think you have found part of it. We can restore the

sense of wonder of listeners by bringing them quickly into our special world.

In their day Fritz Kreisler, Casals, Piatigorsky, Heifetz and countless others

arranged short works of interesting character and presented them in a way

that was compelling and attractive. You have chosen pieces from many coun-

tries which express much about their people; you have fashioned them so the

story gets told well. You bring a warm smile to the listener or astonishment

that a clumsy old instrument like the cello can be maneuvered with lightning

dexterity. […]

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proF. Dr. peter cahn

Hochschule für Musik und Dartellende KunstFrankfurt am Main

The twenty-three miniatures on this compact disk have been chosen

with a particular concept in mind. They comprise short, relatively unknown

pieces which all contain clear elements of folk music.

It would be interesting to examine the nature of the connection be-

tween the Miniature – either as a generalized art form or, more specifically, as

a musical one – and folk music. Perhaps a definition of the nature and history

of the Miniature will help us to answer this question.

When considering the Miniature, we tend to think in terms of painting rather

than music. The origins of the form lie in the book illustrations of the middle

Ages. Every important element of these ancient manuscripts – the first letter,

titles, decorations, significant sections of the text – was usually rendered in a

red ink made from red lead (Latin: minium). From the Latin word miniatus (the

color red) evolved the word miniature. The Miniatures, when defined in this

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narrower sense of painting, evoke the multi-hued, beautifully decorated initials

and text illustrations of the ancient medieval manuscripts and, in particular,

the tiny paintings that abound therein. These illustrations, especially the mini-

ature paintings, proved to be a highly significant branch of pictorial art. One

characteristic, particularly during the Crusader era, is their ornamentation in

which the influence of Byzantine and Arabic motives is instantly recognizable.

The ornate ornamentation of oriental art served as a fertile source of inspira-

tion for miniature painters the world over.

Within the various compositions Gavriel Lipkind has selected for this

recording, a parallel appropriation of folk music elements can be observed in

the melodies, rhythms and virtuosic ornamental figures that characterize their

short “miniature” compositions. Tcherepnin’s Tartar Dance and Glazunov’s

Arabic Melody show the domination of Slav and oriental folk influences that

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was particularly evident in the works of Russian composers. It is, nonetheless,

questionable as to whether an Arab musician would be able to identify genuine

Arabian characteristics in Glazunov’s composition. In Tsintsadze’s Chonguri,

however, there is no doubt that any Georgian musician would immediately

recognize his successful imitation of the Chonguri, the 3½-stringed lute so

popular in Georgia.

The aforementioned compositions clearly demonstrate the two differ-

ent approaches to the use of musical folk resources. The romantic composers

had only a very vague idea of the true characteristics of Arabian music with

the result that they gave their fantasy free rein. They succeeded, often highly

effectively, in conveying the strange and exotic; for instance, Tchaikowsky, in

the Arabian Dance from the Nutcracker Suite, uses chromatics and the interval

of the augmented second to such effect that a totally convincingly oriental

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atmosphere is created while bearing very little resemblance to authentic Arabian

music and irrespective of the inclusion of the “real” or imaginary aspects of

folk music. In similar manner, the nineteenth century composers tended to

equate “Gypsy” music with Hungarian music, Brahms’s Hungarian Dances be-

ing a perfect example of this. For a more rigorously orthodox application of

folk music we must advance to the beginning of the twentieth century to the

scientific work of Bartók who searched for the true sources of Hungarian folk

music and discovered them in the ancient modal songs of the Hungarian peas-

ants. For decades, he systematically recorded these songs on his phonograph,

studying and publishing them and incorporating their characteristic rhythmic

and melodic elements into his compositions until they became an integral part

of his musical creativity.

Among original compositions for cello solo, Gaspar Cassadó’s Intermezzo e

Danza Finale is masterly example of the fusion of virtuosity and Spanish folk

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music. The piece shows the clear stylistic influence of Manuel de Falla with

whom Cassadó was personally acquainted. The first theme, in 5/4 rhythm, is

reminiscent of an original Spanish folk tune, La Folia, which was also adapted

by many other composers, notably Corelli, Brahms and Rachmaninov. Paul

Ben-Haim dedicated his three-movement Music for Violoncello, composed in

1984, to Gavriel Lipkind’s teacher, Uzi Wiesel. Lipkind here plays the central

piece which is in the form of a modernized, mildly Spanish-flavored Gigue with

its 6/8 rhythms and inversion of the theme in the second half

Scriabin’s meditative Romance composed in 1890, creates an effec-

tive contrast between the simplicity of the cello melody and the complexity of

the piano accompaniment. The harmonies of the piece anticipate the “mystical

chord” which was to become so much a part of the composer’s later work.

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Moritz Moszkowski, of Polish origin, was born in Breslau. Most well-

known for his famous Spanish Dances, his attempt to represent Spanish music

in Guitarre is only partially successfull (compare, for example, Cassadó’s Furious

Danza). Both in color and sensibility, the piece does not succeed in freeing

itself from the somewhat Slavic consciousness.

Charm and particularly French esprit characterize the music of

Jaques Ibert whose Le Petit Âne Blanc (The Little White Donkey) is accom-

panied by the untiring to-ing and fro-ing of the folk-like melody in its bass, a

melody that seems tantalizingly familiar despite not being original. Integrated

perfectly into the music, the capricious moods of the donkey appear fitfully,

softly at first, then more assertively as we are made aware of the animal’s

contentment, its ennui, its irritability.

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The three pieces in this collection that were originally composed for violin

all contain elements of folk music. The great violinist Fritz Kreisler composed

charming miniatures; Tambourin Chinois (Chinese Tambourine), composed in

191o, is based on the pentatonic scale. For years, Hora Staccato by the Roma-

nian composer Grigoras Dinicu was a staple concert encore, a favorite of the

great violin virtuosi; during the course of the piece, its Romanian folk color-

ing becomes increasingly vivid with an abundance of augmented seconds and

scale figurations built on the minor seventh.

The Scherzo-Tarantelle of 1835 by Lublin-born Henryk Wieniawski is a typical

work of breathtaking virtuosity that incorporates Polish folk themes.

There are four pieces on this recording written by composers who

were themselves great cellists; Domenico Gabrielli, Jean-Louis Duport and Al-

fredo Piatti are presented respectively by a Ricercare, Caprice, and Etude, each

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of which is a testament to these composer’s lasting influence on the history of

cello-playing. In the virtuosic Elfentanz (Dance of the Elves) by the out-standing

Czech cellist David Popper, the influence of Mendelssohn is clearly evident.

Mendelssohn’s innate lyricism is nowhere more apparent than in the

late Lieder Ohne Worte (Songs Without Words) which were published after his

death. The transcription on this recording is of the first Lied from op. 102 in

E-minor, that magical, evocative key with which Mendelssohn so wonderfully

conjured up both the elfin world of the Overture to A Midsummer Night’s Dream

and the passion of the violin concerto. In this particular piece, an elegiac tone

prevails, the opening melody intoning speechless phrases of lamentation.

Also unspoken, is the text of Ernest Bloch’s T’fila (Prayer) taken from his cy-

cle From Jewish Life composed in 1942. Here, not only is the singer clearly

invoked, but also the sense of the unexpressed words; the song of the Hazan,

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the synagogue cantor, is characteristically embellished and, to emphasize the

synagogual style, Bloch includes several passages liberally sprinkled with the

interval of the augmented second. The expressive power of this piece lies in

its insistent repetition of important melodic phrases, also a characteristic of

cantorial music.

In 1897, for the examination in sight-reading at the Paris Conserva-

tory, Gabriel Fauré composed the Allegro Moderato for two celli (both parts

here performed by Gavriel Lipkind). The nobility of Fauré’s music is apparent in

every note of this rarely-performed veritable Miniature (the piece consists of

mere 23 measures) which is the smallest of the Miniatures in this collection.

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gavriel lipkinD

Cello

“ … an intriguing and dynamic musician on stage … a person of great

creativity and thought, intellectual involvement and kindness …”

Born in 1977 in Israel, he enjoyed a stellar rise to fame as a child prodigy

and appeared in some of the world’s most prestigious venues with orchestras

such as the Israel Philharmonic, the Munich Philharmonic and the Baltimore

Symphony, working alongside many celebrated conductors including Zubin

Mehta, Philippe Entremont and Giuseppe Sinopoli.

Having graduated from three major academies on three continents

and having won more than twelve top prizes in major competitions, Lipkind

found himself at the pinnacle of his youthful achievements. The Frankfurter

Allgemeine Zeitung wrote of him: “A new star ascends the cello sky … The

young Israeli cellist is one of the major musicians to have entered the music scene

in recent years …”

“… Lipkind is a total

one-off … he plays as if

possessed … This was

edge-of-the seat, white

knuckle playing …”

The Independent

(five stars review)

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Assured of his success as a musician, Lipkind decided to take a sabbatical to

focus wholly on other areas of his musicianship – to expand his repertoire, li-

aise with composers and make recordings of the highest quality. He continued

studying music as a piano and chamber-music major while devoting most of

his time to the study of music production, music theory, expanding his reper-

toire, arranging and composing.

At this pivotal point Lipkind produced two contrasting recordings:

Miniatures & Folklore, featuring his own arrangements and Single Voice Poly-

phony I, showcasing the Bach Cello Suites. These two projects represent very

different, yet equally important facets of Lipkind’s musical creativity – his own

compositional voice, coupled with a deep knowledge of the cello – and both

show him moving from strength to strength as a musician.

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It is a particular feature of Lipkind’s own committed brand of musicality that

he aims to make a real difference with the cello; to consciously choose the

way and context in which his work is presented, thinking through every detail

of a given production or performance, thereby inviting his audience to look for a

meditative, holistic, highly attentive observation of their world.

Gavriel Lipkind plays a unique Italian cello labeled (erroneously) “Aloysius Michael

Garani (Bologna, 1702)”. It is estimated, to have been completed in the years

1670-1680; An enigma which has come to be known as “The Zihrhonheimer Cello”.

I am most thankful to my closest friend, the soprano coloratura Alexandra

Lubchansky, for taking a “step back” to sit again at the piano (possibly for the last

time!), in memory of the good old days we spent playing duos together … Work-

ing on this recording has thus been a truly celebratory experience for both of us.

Gavriel Lipkind

Gavriel’s biography above

has been written in 2006

and was left unchanged

since to reflect the reality

at the time of producing

this recording

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alexanDra lubchansky

Piano / Soprano

Born in Russia, Alexandra Lubchansky completed “with excellence” her

piano and composition studies at the St. Petersburg Rimsky Korsakov College of

Music. At the age of 17 Alexandra immigrated to Israel on her own and continued

her piano studies receiving yearly a full scholarship and award from the American

Israel Cultural Foundation. A DAAD full scholarship enabled her to come to

Germany.

Frequent concerts and chamber music collaborations as well as the first prize

at the Rubinstein Contest in Paris followed.

While still in Germany, Lubchansky decided to begin singing profes-

sionally. Acceptance to the class of Prof. Roland Hermann in Karlsruhe marked

the start of her official education as a singer. Very soon after starting her stud-

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ies Lubchansky was invited to sing the high soprano in “Die Eroberung von

Mexiko” by Wolfgang Rihm and the part of Angelina in “La Cenerentola”. Her

first contract at the Stadttheater Hildesheim followed.

Shortly after hearing Alexandra’s remarkable voice, Valery Gergiev

invited her to sing the role of Zerbinetta (“Ariadne auf Naxos”) at the Marijinsky

Theatre in St. Petersburg. From that point on, Lubchansky toured Europe with

numerous renowned conductors, performing as a guest star in major theatres

including Oper Frankfurt, Bayerische Staatsoper Munich, Marijinsky Theatre

St. Petersburg, Festspielhaus Baden-Baden, Staatsoper Berlin, La Monnaie

Brussels.

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Recent solo performances brought her in contact with the Deutsches Sympho-

nieorchester Berlin, Bayerische Rundfunk, Nordwestdeutsche Philharmonie,

Slovak Radio Orchestra, Österreichisches Ensemble für Neue Musik, and Ensemble

Aventure Freiburg, performing baroque, classical, and modern repertoire.

Alexandra Lubchansky was awarded the European Cultural Award of Pro Europa

– European Foundation for Culture. www.alexandra-lubchansky.com

Ms. Lubchansky’s

biography above has been

written in 2006 and was

left unchanged to reflect

the reality at the time of

producing the recording

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Lipkind Productions is a conceptually driven recording label and

production company founded by cellist Gavriel Lipkind and dedicated to one

of the most fundamental building blocks of human experience: The process of

grasping, capturing and communicating an abstract idea.

An holistic yet detailed, scientifically valid and always dynamically

evolving approach to communicating these musical ideas puts this label in a

niche of its own. A thorough programmatic research, the derived interpreta-

tive vision, the performances, recording and editing process, mastering and

design, all claim the same artistic initiative and therefore can happen as a sin-

gle process. Meaningfully packaged and distributed sound, text, sheet-music,

graphic and video content of Mr. Lipkind’s artistic output are the result.

lipkinD proDuctions

„Personal, Conscious, Evolving ...“Objects of Desire

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Reflecting on the ultimate potential of a recording process:

“An idea, by it’s very nature, cannot be communicated without losing some of its

original quality. In a studio recording, where the eventual listener is not part of a

resonating space; the musical idea is put into sound in an isolated environment

where the performer is alone with the instrument and microphones. To quote

Glenn Gould, “Recording is a one-to-zero relationship”. A recording production

is therefore a unique opportunity for a performer to document his ideas about a

given composition in their purest form.” Gavriel Lipkind

Lipkind Productions have been described in the press as “Objects of

Desire” and its products as “Total Works of Art”.

If I were asked to describe

in three words the ideal

performance, I might have

answered: personal,

conscious, evolving …

Gavriel Lipkind

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1 Moritz Moszkowski (1854-1925) GUITARRE OP. 45 / 2 arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4’31

2 henryk Wieniawski (1835-1880) SCHERZO-TARANTELLA OP. 16 arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 5’17

3 isaac albeniz (1860-1909) TANGO arr. Kreisler/Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3’13

4 grigoras Dinicu (1889-1949) HORA STACCATO arr. Heifetz/Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2’15

5 Domenico gabrielli (1651-1690) RICERCARE NO.5* arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1’54

6 alexander tcherepnin (1899-1977) TARTAR DANCE OP. 84 / 2 arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1’21

7 sergei prokofiev (1891-1953) WALTZ from “Music for Children“ OP. 65 arr. Wiesel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2’00

8 alexander glazunov (1865-1936) ARABIC MELODY arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2’38

9 paul ben-haim (1897-1984) LIVELY from “Music for Violoncello“* orig. score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2’30

10 alexander scriabin (1872-1915) ROMANCE arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3’05

11 Joachim stutschewsky (1891-1982) ORIENTAL DANCE arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4’42

12 sulkhan tsintsadze (1925-1992) CHONGURI* arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2’01

13 Felix Mendelssohn (1809-1847) SONG WITHOUT WORDS NO. 43 arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4’33

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14 David popper (1843-1913) DANCE OF THE ELVES OP. 39 orig. score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2’31

15 gabriel Fauré (1845-1924) ALLEGRETTO MODERATO** orig. score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1’22

16 pyotr ilyich tchaikowsky (1840-1893) LULLABY arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4’16

17 Jean-louis Duport (1749-1819) ETUDE NO. 7* arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1’46

18 Jacques ibert (189O-1966 ) THE WHITE LITTLE DONKEY arr. v. Wienhardt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2’37

19 gaspar cassadó (1897-1966 ) INTERMEZZO E DANZA FINALE* arr. Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 7’06

20 ernest bloch (1885-1977) PRAYER from “From Jewish Life“ op. 1 orig. score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 5’02

21 alfredo piatti (1822-1901) CAPRICE NO. 5* orig. score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2’33

22 Johannes brahms (1833-1897) HUNGARIAN DANCE NO. 1 arr. v. Wienhardt / Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3’50

23 Fritz kreisler (1875-1962) CHINESE TAMBOURIN arr. v. Wienhardt / Lipkind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 5’45

total playing time 77’03

* FOR CELLO SOLO ** FOR TWO CELLI (MULTITRACK RECORDING)

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creDits

Instrument

Gavriel Lipkind plays a unique Italian cello labeled (erroneously) “Aloysius Michael

Garani (Bologna, 1702)”. It is estimated, to have been completed in the years 1670-

1680; An enigma which has come to be known as “The Zihrhonheimer Cello”.

Recording

REMASTERED BY Christoph Claßen (2006) PRODUCED BY Abraham Gat BALANCE

ENGINEERING AND EDITING Vadim Beili, Ilia Beck LOCATION Jerusalem Music

Center, Mishkenot Sha’ananim, Israel PRODUCTION COORDINATOR Keren Dahari

The Zihrhonheimer Cello

could become an

inseparable part of

Mr. Lipkind’s music

making thanks to the

support of M. & D. P.

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Object

DESIGNED BY alessandri-design.at PRODUKTION Jan Scheffler prints-

professional.de TExT EDITING Shary Greenberg, Brian Hunt PHOTOG-

RAPHY Marco Borggreve, Gerhard Heller, Ms. Lubchansky: private

archive DISC MANUFACTURING interdisc-berlin.de

& 2006 Gavriel LipkindCP

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Find all releases of Lipkind Productions atwww.LiPkind.inFo

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2celloheroics

#H02

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GAVRIEL LIPKIND celloMISHA KATZ conductorSINFONIA VARSOVIA

R. SCHUMANNCONCERTO FOR CELLO & ORCHESTRA

OP. 129 IN A MINOR

GAVRIEL LIPKIND

BACH 6 SUITES A VIOLONCELLO SOLO

SENZA BASSO

single voicepolyphony

#S01chamber

music

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GAVRIEL LIPKIND celloALEXANDRA LUBCHANSKY piano

MINIATURES & FOLKLORE

23 CHALLENGES FOR CELLO & PIANOcello

heroics

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GAVRIEL LIPKIND celloWOJCIECH RODEK conductor

SINFONIA VARSOVIA

SHOSTAKOVICHCELLO CONCERTO #1 OP. 107 IN E-FLAT MAJOR

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GAVRIEL LIPKIND celloANTONY HERMUS conductor

SINFONIA VARSOVIA

C. SAINT-SAENSCELLO CONCERTO #1 OP. 33 A MINOR

H cello heroics C chamber music S single-voice polyphony

celloheroics

#H04

GAVRIEL LIPKIND celloIVAN MEYLEMANS conductor

HET GELDERS ORKEST

ERNST V.DOHNANYI

KONZERTSTÜCK FOR CELLO & ORCHESTRA OP. 12

LiPkind PRodUCTionS — oBJECTS oF dESiRE Find the complete product line of Lipkind Productions at www.LiPkind.inFo All recordings are available digitally for download also as high resolution and surround. Many titles are available as special exclusive editions and sheet music bundles.

chambermusic

#C02

MEMBERS OF THE

LIPKIND CONSORTIUM

NEWWORLDS

WORKS BY BLOCH BRITTEN RACHMANINOFF

STRAVINSKY & DVORAK

GAVRIEL LIPKIND

GEORGY LIGETI

SONATA FOR CELLO SOLO

single voicepolyphony

#S02