Steven isserlis rachmaninov biography
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In 2016, he gave the UK premiere of Olli Mustonen’s of Frei, aber einsam for solo cello at the Wigmore Hall.
Writing and playing for children is another major enthusiasm. Other recent releases include the Elgar and Walton concertos, alongside works by Gustav and Imogen Holst, with the Philharmonia Orchestra and Paavo Järvi; Prokofiev and Shostakovich concertos with the Frankfurt Radio Symphony, also under Paavo Järvi; Dvořák’s Cello Concertos with the Mahler Chamber Orchestra and Daniel Harding; and recital discs with Stephen Hough, Thomas Adès and (for BIS) a Grammy-nominated album of sonatas by Martinů, as well as works by Mustonen and Sibelius, with Olli Mustonen.
With harpsichordist Richard Egarr, he has performed and recorded the viola da gamba sonatas of J.S. Bach as well as sonatas by Handel and Scarlatti. We rounded out the disc with three little-known gems, one by each composer; and were very relieved that the whole programme fitted onto the disc (just!)
Chopin/Schubert sonatas
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Chopin Introduction et Polonaise brilliante op 3 ; Sonata op 65 ; ‘Faded and Vanished’ (from Polish songs op 74 – no 13, arr Isserlis); Franchomme Nocturne op 15 no 1; Schubert Arpeggione sonata, ‘Nacht und traüme (arr Isserlis)
The Chopin is one of the most fascinating sonatas in the repertoire, very much a product of his later style, and a work with which he fought long and hard.
What beauties that time has left us! Since 2006 he has presented a series of concerts for children, based on his books, at the 92nd St Y in New York. An added bonus (for me) for this recording was that I was lucky enough to have two Strad cellos available for it, the ‘De Munck’ and the ‘Marquis de Coberon’. Also, since there was time left over on the disc, we were able to add a lovely piece by Gustav Holst, ‘Invocation’.
His family was supportive of his early music career, even when he was not earning that much money.
Acclaimed worldwide for his technique and musicianship, Steven Isserlis enjoys a distinguished career as a soloist, chamber musician and teacher. Somehow his early Ballade has always been dismissed as an incomprehensible piece – even Prokofiev himself admitted that it didn’t seem to go down well on a first hearing.In 2010-2011 he will tour with The Academy of Ancient Music and Richard Egarr. But also – more so, in fact – because it is such wonderful music, John’s late works being among the most beautiful he ever wrote. As I often say, he is like a younger brother to me (he likes to lay emphasis on the word ‘younger’ in that sentence…) – with all the closeness and occasional mutual irritation that involves!
He thought that by attempting it too early I’d ruin any chance I might have of playing it properly one day) and then performed it at the age of 14. In 2009 he programmed three concerts celebrating the music of Robert Schumann, Felix Mendelssohn and Frédéric Chopin, for the 92nd St Y in New York, which he performed with Joshua Bell, Denes Varjon and Daniel Phillips.
Writing and playing for children is another major interest for Steven Isserlis.He was awarded the Schumann Prize 2000 by the city of Zwickau.
Steven Isserlis plays the 'Feuermann' or 'De Munck' Stradivarius of 1730, kindly loaned to him by the Nippon Music Foundation of Japan, and the Marquis de Corberon (Nelsova) Stradivarius of 1726, kindly loaned to him by the Royal Academy of Music. While avoiding these more famous pieces (all of which I’ve already recorded at least twice), we thought that it would be good to devote a disc to some lesser-known gems from then.So, rather than have Connie imitate the harp on the piano – as usually happens in performances with piano – we invited Olivia Jageurs to join us for that one piece; I’d like to think that we got the best of both worlds.
The Dvorak pieces were actually written for violin; but I’ve always wanted to steal them – they are so utterly gorgeous, and so well-suited for the cello.
I am proud to say that on this session there was only one enforced break because of uncontrollable giggling – and he was the first to lose it, not I. We recorded two romantic sonatas that we both love, by Grieg and Mendelssohn; and a fascinating and atmospheric sonata by PH himself, for cello and piano left-hand. He is an acquaintance of Paul McCartney.
And this – one of the very few violin sonatas found among his vast collection of keyboard sonatas – is pure Scarlatti: wild, eccentric and irresistible.
Mendelssohn/Grieg/Hough with PH
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It is always such a pleasure to spend time with my old friend Stephen Hough (PH, as I call him); and this recording was no exception.
The four shorter pieces on the disc were played on a ‘trench cello’, owned by my great friend, the doyen of string instrument experts the world over, Charles Beare. It is not so much the historical accuracy of the sound that convinces me; it is more the clarity, the purity, and the sheer unbridled passion that can be released, without the worry of drowning the cellist that must inhibit every player on a modern instrument.
It is complex, tragic, aristocratic, dramatic – and deeply moving, almost a last testament.