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The Britten Cello Suites (Part 3): An Introduction to the Third Suite — by Aron Zelkowicz

  Britten chose to build his Third Suite for Cello around four pre-existing Russian themes: three tunes taken from Tchaikovsky’s volume of folk-song arrangements, and the Kontakion, the Byzantine chant for the dead taken from the Russian Orthodox liturgy.  Rostropovich considered himself Russian Orthodox, and one can appreciate the impact of Britten presenting a score based on this theme as a gift to the cellist in Moscow.  The Third Suite also serves as a dual tribute to Shostakovich.  The second movement, Marcia, includes the signature “anapest” rhythm found in Shostakovich’s symphonies (“da-da-DUM”), and in a subtle yet ingenious linking, the final statement of the Kontakion in C minor employs the notes C-B-Eb-D: a reordered allusion to Shostakovich’s famous four-note D-S-C-H signature (D-Eb-C-B). Britten goes about weaving the Russian-themed motifs in [...]

Behind the Scenes of a Music Festival (Part 1): The Vision Thing — by Aron Zelkowicz

By self-imposed annual tradition, recent weeks have been crunch time, when a year’s worth of planning comes to fruition.  My pet project, the Pittsburgh Jewish Music Festival, held sway in early June where, for the past several years, it has settled in the form of four concerts.  I thought it might serve as a useful case study to explore various behind-the-scenes topics. This is the season when myriad music festivals around the country are in full bloom.  What is the take-away experience from any one of these that makes it unique?  Even traditional chamber music festivals have their own trademark DNA that set them apart, from big issues (BUDGET, LOCATION) to small (I’m playing in a festival this summer that offers a cookbook featuring the players’ signature recipes—cool!).  Festival X [...]