Lilya zilberstein grand piano masters

For what distinguishes a master is the passion, the fervour and, above all, the experience. I like youthful "Sturm and Drang", as you no doubt also do - it comes at us like a breath of fresh air, irrepressible and powerful. Yet when that first fame evaporates, when you've played the big houses and the euphoria of the moment inevitably ends up back in the same old rooms?

What then? Then you need love, unconditional passion and a deeply felt calling to make it to true masterdom. This particular recording is of a concert by a true past master who has "been there and done that" and who is now conveying and passing on her experiences and artistic merit to the up-and-coming generation. Lilya, with all her humaneness and virtuosity of performance, has crossed the boundary into that space where pride is refined into modesty, with the result that what is being played is measured against how it is conveyed to the person instead of against the preordained perfection of the music aristocracy.

Melancholy for the transience of the moment is etched in her features when she has given the audience her all. At the "Bad Homburg Bechstein Concerts in the Castle" , we had the opportunity to witness her interpretation of two impassioned composers - Beethoven, who carried the "Appassionata" inside him, and Brahms, who until his death held fast to his unrequited "Passione" for Clara Schumann, the love of his life Despite all the first prizes won at important Russian and Soviet competitions - at the Russian Federation's competition, for example - she was told in no uncertain terms that she was persona non grata at the Moscow Conservatory because of her Jewish origins.

Permission to take part in international piano competitions was withheld, in particular when it came to the International Tchaikovsky Competition. The one exception to this in was more of a coincidence than anything else: she was given permission to take part in the Busoni Competition in Bozen. Her triumph there was a sensation, and five years passed before a first prize was ever awarded in Bozen again.

Her debut in the West marked the turning point of Lilya's career, and experts in the music branch pricked up their ears. Since that time, Lilya Zilberstein has been a presence on the great stages of the world. In , she debuted at the Berlin Philharmonic with Claudio Abbado conducting, which laid the foundations for repeated collaboration between them.

She has participated in concerts with the most renowned international orchestras, including the Chicago Symphony Orchestra, the Moscow Tchaikovsky Symphony Orchestra, the London Symphony and Royal Philharmonic Orchestras, the orchestra of Milan's La Scala and many, many more. And in addition to her career as a soloist, Lilya Zilberstein is a passionate performer of chamber music and works with the great soloists of the day.

The piano duo of Martha Argerich and Lilya Zilberstein has been highly acclaimed all over the world for many a year now. The international press agrees on one thing: there is no superlative too good for her! Lilya Zilberstein experienced her first international success in when she won the Busoni Competition in Bozen, Italy. Since then, the pianist has been able to establish an international career and belongs to the uncontested piano greats.

Lilya Zilberstein has produced legendary CDs in the framework of an exclusive contract with Deutsche Grammophon. A highlight is the benchmark recording with highly-acclaimed playing of Rachmaninow's Piano Concertos with Claudio Abbado and the Berlin Philharmonic. The educated aristocracy was aware of the necessity to support and cultivate the fine arts, and in doing so, created the basis for Europe's ambience.

In those days, much that was of little ostensible or commercial value in the fine arts or in literature and music aroused considerable attention and admiration, thus laying the foundations of our cultural life and identity today. Music that is new, pieces worth listening to and well worth conserving, little treasures from the traditional and the avant-garde - music that is unimaginable anywhere else but in the hotbed of Europe - our "Castle Concerts" series of recordings captures these in their original settings and preserves them for the future.

By his endowment to the town church in Bad Homburg, Kaiser Wilhelm II unwittingly did the little church in the palace a favour and helped turn it into one of the most beautiful and intimate concert halls in Europe. The turmoil and modernization fads of the 20th century passed it by, and it remained untouched until a local initiative, the "Bad Homburg Castle Church Trust" , stepped in and secured enough patronage to save this architectural gem.

True to the original and with a loving attention to detail, both, church and organ were restored to create a truly wonderful concert hall.

Lilya zilberstein grand piano masters

Today the Castle Church sparkles with a renewed radiance that is set off perfectly by the superb "Music in the Castle" concerts organized with such enthusiasm by Ulrike and Volker Northoff. View the website of the "Music in the Castle" concerts at www. P ublishing culture in its authentic form entails for us capturing and recording for posterity outstanding performances and concerts.

The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value, recorded in direct 2-Track Stereo digital.

In our Edition Authentic Classical Concerts we go in search of this dialogue - to the large constructions and rare pearls of human architecture. For every building has its peculiarities, formed by its historical, acoustic and atmospheric circumstances. But the critical element remains the person, the artist with his intellectual sensibilities.

The genesis, the origin, the environment, the musical evolution and education are all factors that develop our tastes and preferences: for example, for a love of large spaces, of classical or modern architecture. It is not without reason that the peoples of other continents and cultures enthuse over the fascination of the European experience Is not the sensitivity of an Italian opera singer or a Bulgarian violinist crucial to the interpretation, the handling of the composition, the work?

At the "Bad Homburg Bechstein Concerts in the Castle", we had the opportunity to witness her interpretation of two impassioned composers - Beethoven, who carried the "Appassionata" inside him, and Brahms, who until his death held fast to his unrequited "Passione" for Clara Schumann, the love of his life You will experience a nocturnal tour of an instrumental sound space with unique compositions that exploit the "Grand Piano" in its entirety and make this audiophile experience in the ambience of the Castle Church truly one to remember.

The pianist, Franz Vorraber, a romantic and a connoisseur of Schubert, identifies and interprets with great sensitivity the highs and extreme lows of "Franz", the eternal wanderer, who in his day escaped to such distant parts. In the deep of the night, two masters - the composer and the artist - struggle for the light of day. The path that Lilya Zilberstein has taken reflects the triumph of a calling, a dogged determination to overcome obstacles that would have shattered any other talent: the eighties in the USSR were times of overt, yet unofficial antisemitism.

Despite all the first prizes won at important Russian and Soviet competitions - at the Russian Federation's competition, for example - she was told in no uncertain terms that she was persona non grata at the Moscow Conservatory because of her Jewish origins. Permission to take part in international piano competitions was withheld, in particular when it came to the International Tchaikovsky Competition.

The one exception to this in was more of a coincidence than anything else: she was given permission to take part in the Busoni Competition in Bozen. Her triumph there was a sensation, and five years passed before a first prize was ever awarded in Bozen again. Her debut in the West marked the turning point of Lilya's career, and experts in the music branch pricked up their ears.

Since that time, Lilya Zilberstein has been a presence on the great stages of the world. In , she debuted at the Berlin Philharmonic with Claudio Abbado conducting, which laid the foundations for repeated collaboration between them. She has participated in concerts with the most renowned international orchestras, including the Chicago Symphony Orchestra, the Moscow Tchaikovsky Symphony Orchestra, the London Symphony and Royal Philharmonic Orchestras, the orchestra of Milan's La Scala and many, many more.

And in addition to her career as a soloist, Lilya Zilberstein is a passionate performer of chamber music and works with the great soloists of the day. The piano duo of Martha Argerich and Lilya Zilberstein has been highly acclaimed all over the world for many a year now. The international press agrees on one thing: there is no superlative too good for her!

Lilya Zilberstein belongs firmly in the circle of those magical sorcerers of sound on the piano. Born in Graz - Austria, Franz Vorraber has been fascinated by the piano since his early childhood. At the age of seven, he played the organ in church standing up - as he could hardly reach the pedals. At the age of thirteen, he was admitted to the piano class for exceptional students at the Music Conservatory in Graz, also learning the violin.

The Viennese School in the tradition of Bruno Seidlhofer and the traditional German school of Wilhelm Kempff, handed down by Joachim Volkmann, dominated his study years.