ivan

Home/ivan

About ivan

This author has not yet filled in any details.
So far ivan has created 139 blog entries.

2015

Ned Rorem

2020-02-21T23:51:24+01:00

Istomin, Pommier et Rorem au Concours Kapell 1987

Ils se sont connus en 1942 quand Ned Rorem est venu étudier au Curtis Institute. Le hasard a voulu que le studio qu’il louait se trouvât juste au-dessus de l’appartement des Istomin. Dans son livre Knowing When To Stop, il fait un portrait amusant d’Istomin, « une sorte de chérubin au teint mat et à l’air ennuyé, dont l’attitude mêlait à égalité chaleur et hauteur ». Et il ajoutait : « A ce moment-là, il était en train de finir ses études, travaillant son piano toute la journée, dînant chaque soir à L’Aiglon, où son père était maître d’hôtel. Il lisait du lourd (Thomas Mann, Leibniz, et les Principia Mathematica de Russell et Whitehead) et allait au cinéma. A dix-sept ans il était conscient de sa valeur, il était déjà un maître du piano. Il n’a jamais « progressé », ce qui constitue pour moi un grand compliment. Les grands interprètes ne progressent jamais – ou alors parfois négativement, de la façon dont un concert progresse – si ce n’est qu’ils élargissent ou réduisent leur répertoire. Ils sont ce qu’ils sont au milieu de l’adolescence, parce que l’excellence et la compréhension ne viennent pas avec l’âge, elles sont innées. Au cours de cette année-là j’ai entendu Eugene travailler et jouer pendant des centaines d’heure. Sa nature est devenue ma seconde nature. Moi-même je ne suis pas vraiment un grand pianiste, mais je suis un bon imitateur ; quand les gens parlent de mon pianisme, je leur dis : « Je ne sais pas jouer du tout, je ne fais qu’imiter Eugene… L’art de Eugene Istomin a influencé mon approche de toute la musique, même celle que lui-même méprise. »
En octobre 1943, lorsqu’Istomin remporta le Philadelphia Orchestra Youth Contest, Ned Rorem l’avait accompagné au 2ème piano.
Peu après la fin de la 2ème Guerre Mondiale, c’est par l’intermédiaire de Ned Rorem qu’Istomin, qui se mêlait alors souvent aux milieux avant-gardistes de Manhattan, fit la connaissance de Paul Goodman. Goodman n’accédera à la notoriété qu’au début des années 60, devenant un des maîtres à pense

Ned Rorem2020-02-21T23:51:24+01:00

Bernstein, chef et compositeur

2020-02-21T23:51:24+01:00

Eugene Istomin aurait dû avoir une collaboration suivie, une complicité même, avec Leonard Bernstein, son aîné de sept années. Ils avaient été ensemble au Curtis, où ils étaient très proches, malgré leur différence d’âge. Istomin était déjà fasciné par son génie et son charisme. Quant à Bernstein, il avait déclaré, après une audition des élèves du Curtis : « Eugene, tu es une oasis dans le désert ! Une oasis dans le désert!”. Ils étaient amis et le sont restés tout au long de leur vie, se témoignant souvent leur affection et leur estime. Istomin défendit énergiquement Bernstein compositeur lorsque certaines de ses œuvres furent mal accueillies par la critique, en particulier Mass, qui avait été huée lors de sa création pour l’inauguration du Kennedy Center. Parmi les rares œuvres contemporaines de son répertoire figurait ses Anniversaries qu’il joua dans de nombreux récitals. Bernstein le remercia en lui dédicaçant sa partition, évoquant leur passé commun et « all what’s to come ».
En fait leurs collaborations avec l’Orchestre Philharmonique de New York furent assez rares. En 1958, la première année de Bernstein comme directeur musical à part entière, ils jouèrent le Concerto de Schumann. Il y avait même un projet d’enregistrement mais Columbia préféra finalement associer Istomin et Bruno Walter. En 1962, Istomin participa à l’inauguration du Lincoln Center avec le Concerto pour 4 claviers BWV 1065 de Bach aux côtés de ses amis Gary Graffman et Leon Fleisher, puis joua le Deuxième Concerto de Brahms pour un cycle au cours duquel Bernstein célébrait son 500ème concert à la tête du New York Philharmonic. Il y eut enfin en 1968, dans une situation politique extrêmement tendue, une série de concerts qui associait le 4ème Concerto de Beethoven et la Sinfonia de Berio, en création mondiale. Ce fut un moment difficile pour Istomin, qui reçut quelques sifflets à son arrivée sur scène, pour la première fois de sa vie. Les raisons de ces sifflets étaient éminemment politiques et venaient, en plein duel électoral entre Nixon et Humphrey, soit de républicains convaincus soit de démocrates peu favorables à la candidature de Humphrey, qu’ils ne jugeaient pas assez ouvertement opposé à la poursuite de la guerre au Vietnam. Or Istomin était le président du Comité de soutien des Ecrivains et des Artistes à la candidature de Humphrey. Bernstein avait refusé son concours malgré l’insistance d’Istomin. Il lui expliqua que Humphrey était sans doute quelqu’un de bien, mais qu’il pensait que le peuple américain avait besoin d’être « cautérisé » par Nixon pour retrouver le chemin de l’idéal ! Sur le plan musical le désaccord avait été grand aussi, Bernstein ayant délibérément choisi un tempo exagérément lent dans l’andante du concerto…
Quelques mois plus tard, Bernstein abandonnait la direction musicale du New York Philharmonic et n’acceptant plus de poste fixe, les occasions devinrent plus difficiles à trouver. A plusieurs reprises Bernstein dit à Istomin qu’il voulait absolument faire un concerto de Mozart avec lui, mais rien ne se fit.
On peut imaginer que Bernstein avait été blessé qu’Istomin n’ait pas insisté pour enregistrer le Concerto de Schumann avec lui, comme c’était prévu, et qu’il lui ait préféré Bruno Walter. Il y a aussi le mystère de la personnalité infiniment complexe de Bernstein. Il y eut surtout cette violente discussion autour d’Humphrey et de Nixon dans laquelle Eugene n’avait pas mâché ses mots.
Cela n’empêcha pas leurs relations de redevenir très cordiales et de le rester jusqu’à la mort de Bernstein, qui fit dire à Istomin : « En fait je ne pouvais pas l’imaginer vieillir ! »

Dans une interview à John Gruen pour le New York Times en 1971, Istomin avait dit toute son admiration pour Bernstein compositeur, après le mauvais accueil réservé à Mass lors de l’inauguration du Kennedy Center : « Je pense que c’est le grand œuvre de Bernstein. Pour moi tout sonne juste! Vous avez son âme et ses convictions, et tout son fantastique talent présenté sur un plat d’argent. Oui c’est « populaire ». Non ce n’est pas hétéroclite. C’est du pur Bernstein. Si vous l’aimez, vous aimerez l’œuvre. C’est ce que je fais. Dans mon univers, il y a de la place pour Stravinsky, Nono et Bernstein. Je suis fatigué de voir un des plus grands talents du siècle se faire éreinter et calomnier. Profitons plutôt de lui tant qu’il est là!»

Concerts

1958, 23, 25 & 27 octobre. Carnegie Hall. Schumann, Concerto. New York Philharmonic.

1962, 26 septembre. Avery Fischer Hall. Bach, Concerto BWV 1065 (avec Leon Fleisher, Gary Graffman, William Masselos). New York Philharmonic.

1962, 25, 26, 27 & 28 octobre. Avery Fischer Hall. Brahms, Concerto n° 2. New York Philharmonic.

1968, 10, 11, 12 & 14 octobre. Avery Fischer Hall. Beethoven, Concerto n° 4. New York Philharmonic. Concert enregistré.

Musique

Présentation de Mass de Bernstein

Bernstein, chef et compositeur2020-02-21T23:51:24+01:00

Chine

2020-02-21T23:51:24+01:00

Pour Eugene, l’année 1971 est placée sous le signe de l’Orient. En plus de la tournée au Japon au début de l’automne, il veut absolument réaliser son rêve de jouer dans un pays dont il admire l’art et l’histoire : la Chine. C’est son ami Gary Graffman, grand spécialiste et collectionneur passionné, qui avait éveillé son intérêt. Mais ce n’est pas la seule motivation pour se lancer dans l’aventure de ce voyage pour lequel il faut venir à bout de bien des obstacles. Eugene a aussi une grande curiosité pour le présent de ce grand pays et il a le sentiment que les USA et la Chine doivent absolument se rapprocher. En effet, les relations sino-soviétiques étant très tendues, un rapprochement américano-chinois serait un gage d’équilibre et de paix, avec une diminution de l’influence soviétique. Il paraît évident à Istomin que la musique peut jouer un rôle capital dans cette démarche. Ce qui rend le défi encore plus passionnant c’est que la musique classique avait été chassée par les gardes rouges de la Révolution culturelle de 1966 et qu’elle n’avait pas encore repris réellement droit de cité !
La bonne volonté politique d’Istomin, un peu refroidie depuis le malheureux voyage au Vietnam et à Djakarta de 1967, se renforce vite lorsqu’il prend conscience que les choses bougent en Chine. Au printemps 1971, les relations diplomatiques entre les USA et la Chine sont toujours coupées, et le gouvernement chinois bataille encore pour obtenir son admission à l’ONU (il l’obtiendra le 26 octobre). Mais des contacts commencent à s’établir. L’administration Nixon avait tenté des démarches dès 1969, interrompues par l’invasion américaine du Cambodge en 1970. En décembre 1970, les contacts avaient repris discrètement et avaient été prometteurs, au point qu’en avril 1971 Nixon fit état publiquement de son souhait de faire un voyage en Chine. Au mois de juillet, Kissinger s’y rendit secrètement pour commencer à évoquer directement les questions importantes et préparer le voyage du Président. Quand Istomin commence ses propres démarches, personne n’aurait encore osé imaginer le succès extraordinaire du voyage que Nixon effectuera en février 1972. Ce sera un événement majeur de l’histoire du 20ème siècle, un changement profond de l’échiquier mondial, les premiers pas de la Chine dans le processus de la mondialisation…
Pour transmettre sa proposition de venir jouer pour les responsables politiques chinois, de donner des concerts et des master-classes, Istomin a besoin, en l’absence de relations diplomatiques officielles entre les Etats-Unis et la Chine, de passer par des pays qui en ont déjà. A cette époque, c’est la France qui est le pays le plus proche de la Chine. Ce fut la première grande puissance à reconnaître la République populaire de Chine, dès janvier 1964, et à établir avec elle des échanges culturels suivis. La personnalité française la plus connue et la plus respectée en Chine est André Malraux. Ses liens avec le Parti Communiste Chinois remontent aux années 20 et l’histoire de la révolution chinoise a nourri ses plus grands romans, Les Conquérants et L’Espoir. A l’été 1965, Malraux, ministre de la Culture du Général de Gaulle, a fait une visite officielle en Chine et a été reçu très amicalement par Chou En Lai et Mao Tse-Toung. Istomin avait rencontré Malraux à la Maison Blanche en mai 1962 lors du concert que le Trio y avait donné en son honneur. Grâce à Jean-Bernard Pommier, qui était très proche du grand écrivain, il put le revoir à Paris. Il fut très cordialement accueilli et n’eut aucune peine à convaincre Malraux d’intervenir personnellement auprès de Chou En Lai. Quant à l’obtention d’un visa, c’est Hubert Humphrey qui se charge de prendre contact avec le Canada, qui avait déjà, lui aussi, établi des relations diplomatiques avec la Chine.
Mais voilà, les négociations traînent et Eugene, la mort dans l’âme, est obligé de renoncer. Finalement, il n’ira même jamais en Chine. Ormandy et l’Orchestre de Philadelphie seront en 1973 les premiers musiciens américains invités officiellement en Chine, après le voyage de Nixon. Et c’est Isaac Stern qui tirera tout le parti médiatique d’un spectaculaire retour de la musique classique en Chine. Il avait souhaité, lui aussi, y aller très tôt et avait pris contact en août 1971 avec Henry Kissinger, qui l’en avait dissuadé. Ce n’est qu’en 1979 qu’il put y faire une longue tournée, accompagné par le cinéaste Murray Lerner. Il en naquit un film au succès mondial, De Mao à Mozart, qui, en 1981, remporta un oscar et fut présenté au festival de Cannes.

Chine2020-02-21T23:51:24+01:00

2015

Bernstein, chef et compositeur

2020-02-21T23:51:24+01:00

1958-Group-Photo-after-Schumann-ConcertoEugene Istomin aurait dû avoir une collaboration suivie, une complicité même, avec Leonard Bernstein, son aîné de sept années. Ils avaient été ensemble au Curtis, où ils étaient très proches, malgré leur différence d’âge. Istomin était déjà fasciné par son génie et son charisme. Quant à Bernstein, il avait déclaré, après une audition des élèves du Curtis :

« Eugene, tu es une oasis dans le désert ! Une oasis dans le désert!”. Ils étaient amis et le sont restés tout au long de leur vie, se témoignant souvent leur affection et leur estime. Istomin défendit énergiquement Bernstein compositeur lorsque certaines de ses œuvres furent mal accueillies par la critique, en particulier Mass, qui avait été huée lors de sa création pour l’inauguration du Kennedy Center. Parmi les rares œuvres contemporaines de son répertoire figurait ses Anniversaries qu’il joua dans de nombreux récitals. Bernstein le remercia en lui dédicaçant sa partition, évoquant leur passé commun et « all what’s to come ».

En fait leurs collaborations avec l’Orchestre Philharmonique de New York furent assez rares. En 1958, la première année de Bernstein comme directeur musical à part entière, ils jouèrent le Concerto de Schumann. Il y avait même un projet d’enregistrement mais Columbia préféra finalement associer Istomin et Bruno Walter. En 1962, Istomin participa à l’inauguration du Lincoln Center avec le Concerto pour 4 claviers BWV 1065 de Bach aux côtés de ses amis Gary Graffman et Leon Fleisher, puis joua le Deuxième Concerto de Brahms pour un cycle au cours duquel Bernstein célébrait son 500ème concert à la tête du New York Philharmonic. Il y eut enfin en 1968, dans une situation politique extrêmement tendue, une série de concerts qui associait le 4ème Concerto de Beethoven et la Sinfonia de Berio, en création mondiale. Ce fut un moment difficile pour Istomin, qui reçut quelques sifflets à son arrivée sur scène, pour la première fois de sa vie. Les raisons de ces sifflets étaient éminemment politiques et venaient, en plein duel électoral entre Nixon et Humphrey, soit de républicains convaincus soit de démocrates peu favorables à la candidature de Humphrey, qu’ils ne jugeaient pas assez ouvertement opposé à la poursuite de la guerre au Vietnam. Or Istomin était le président du Comité de soutien des Ecrivains et des Artistes à la candidature de Humphrey. Bernstein avait refusé son concours malgré l’insistance d’Istomin. Il lui expliqua que Humphrey était sans doute quelqu’un de bien, mais qu’il pensait que le peuple américain avait besoin d’être « cautérisé » par Nixon pour retrouver le chemin de l’idéal ! Sur le plan musical le désaccord avait été grand aussi, Bernstein ayant délibérément choisi un tempo exagérément lent dans l’andante du concerto…

Quelques mois plus tard, Bernstein abandonnait la direction musicale du New York Philharmonic et n’acceptant plus de poste fixe, les occasions devenaient plus difficiles à trouver. A plusieurs reprises Bernstein dit à Istomin qu’il voulait absolument faire un concerto de Mozart avec lui, mais rien ne se fit.

On peut imaginer que Bernstein avait été blessé qu’Istomin n’ait pas insisté pour enregistrer le Concerto de Schumann avec lui, comme c’était prévu, et qu’il lui ait préféré Bruno Walter. Il y a aussi le mystère de la personnalité infiniment complexe de Bernstein. Il y eut surtout cette violente discussion autour d’Humphrey et de Nixon dans laquelle Eugene n’avait pas mâché ses mots.

Cela n’empêcha pas leurs relations de redevenir très cordiales et de le rester jusqu’à la mort de Bernstein, qui fit dire à istomin : « En fait je ne pouvais pas l’imaginer vieillir ! »

Dans une interview à John Gruen pour le New York Times en 1971, Istomin avait dit toute son admiration pour Bernstein compositeur, après le mauvais accueil réservé à Mass lors de l’inauguration du Kennedy Center : « Je pense que c’est le grand œuvre de Bernstein. Pour moi tout sonne juste! Vous avez son âme et ses convictions, et tout son fantastique talent présenté sur un plat d’argent. Oui c’est « populaire ». Non ce n’est pas hétéroclite. C’est du pur Bernstein. Si vous l’aimez, vous aimerez l’œuvre. C’est ce que je fais. Dans mon univers, il y a de la place pour Stravinsky, Nono et Bernstein. Je suis fatigué de voir un des plus grands talents du siècle se faire éreinter et calomnier. Profitons plutôt de lui tant qu’il est là!»

Concerts

1958, 23, 25 & 27 octobre. Carnegie Hall. Schumann, Concerto. New York Philharmonic.

1962, 26 septembre. Avery Fischer Hall. Bach, Concerto BWV 1065 (avec Leon Fleisher, Gary Graffman, William Masselos). New York Philharmonic.

1962, 25, 26, 27 & 28 octobre. Avery Fischer Hall. Brahms, Concerto n° 2. New York Philharmonic.

1968, 10, 11, 12 & 14 octobre. Avery Fischer Hall. Beethoven, Concerto n° 4. New York Philharmonic.

Bernstein, chef et compositeur2020-02-21T23:51:24+01:00

1925

1925

2021-02-09T09:51:42+01:00

November 26 – Born in New York, to Russian parents who emigrated to USA after the Soviet Revolution. Eugene Istomin’s father, Yuri, belonged to the Russian nobility and fought in the Tsarist army. His mother Feera came from a Jewish family in Odessa.

Feera Chavin when she arrived in New York in 1922

19252021-02-09T09:51:42+01:00

1930

1930

2021-02-09T09:52:27+01:00

Since his father played the guitar badly, becomes the family pianist and accompanies his parents, who earn their living by singing and dancing in Russian cabarets. In addition to Russian songs, is immersed in operatic arias through the singing of his parents and the records of the super stars (Caruso, Schipa, Galli-Curci, Ponselle) that they collect.

Feera and Yuri Istomin in stage costumes

19302021-02-09T09:52:27+01:00

1932

1932

2020-05-02T15:06:09+02:00

Is introduced to Siloti, a former Liszt student and central character of the musical life of Saint Petersburg before the Revolution. Siloti agrees to oversee his musical education on the condition that his parents do not exploit him as a child prodigy. Siloti’s daughter Kyriena takes him to Rachmaninoff’s where he plays one of the little Beethoven Sonatas Op. 49 and receives encouragement from the great musician.

With Alexander Siloti in 1932

19322020-05-02T15:06:09+02:00

1934

1934

2020-05-05T15:17:37+02:00

Continues his training with Siloti, assisted by Kyriena, who also teaches him to write Russian, read and speak French. Is virtually a member of the Siloti family and often sleeps at their apartment, on the top floor of the Hotel Ansonia, a meeting place for all the great Russian artists, such as Stravinsky and Koussevitzky. Starts becoming a baseball fan and is invited to the All-Star Game by his uncle.

Eugene Istomin at age seven

19342020-05-05T15:17:37+02:00

1935

1935

2020-05-05T15:18:19+02:00

Buys his first book, “The Three Musketeers” by Alexandre Dumas, and develops a passionate love for literature. Goes to school for the first time, attending the classes at the Professional School for Children, but often playing truant, wandering the streets and parks, going to Central Park Zoo, or sneaking into the cinema.

The Three Musketeers, Ed. Grosset & Dunlap, New York, 1928

19352020-05-05T15:18:19+02:00

1937

1937 – 1938

2020-05-05T15:21:09+02:00

Worried that his son was spending so little time at the piano, his father decides that he should stop taking lessons with Alexandre Siloti and continue his education at Mannes School of Music. After hearing two concerts of Josef Hofmann, the young Eugene is fascinated by the great pianist and dreams of studying with him. He knocks on the door of Hofmann’s hotel room and asks to play for him. He is kindly dismissed and recommended to apply to the Curtis Institute.

Josef Hofmann circa 1940

1937 – 19382020-05-05T15:21:09+02:00

1939

1939 – 1943

2021-02-09T09:53:28+01:00

Studies at the Curtis Institute with Serkin and his assistants (Jorge Bolet – during the first year, then Mieczyslaw Horszowski). Attends concerts of all the most important musicians performing in Philadelphia (Rachmaninoff, Rubinstein, Kreisler, Heifetz, Feuermann, Stokowski, Beecham, Bartók…). Surrounds himself with a wide circle of friends (including Leonard Bernstein and Ned Rorem) to make music, talk and have fun. Spends the rest of his free time devouring books and going to the movies. 

Serkin and Istomin in the mid-1950s

1939 – 19432021-02-09T09:53:28+01:00

1943

1943

2020-05-05T15:24:52+02:00

In October, wins in quick succession the Youth Competition organized by the Philadelphia Orchestra and the Leventritt Competition. As prizes, makes his debut with the Philadelphia Orchestra conducted by Eugene Ormandy on November 17 (Chopin, Concerto No. 2) and with the New York Philharmonic under Artur Rodzinski on November 21 (Brahms, Concerto No. 2). The New York concert is broadcast live nation-wide and immediately launches him to fame. Arthur Judson becomes his manager.

19432020-05-05T15:24:52+02:00

1944

1944

2020-05-05T15:28:31+02:00

Gives more than 40 concerts with Adolf Busch and his chamber orchestra, performing concertos by Mozart (K. 449, 365 and 414) and Bach (BWV 1052 and 1061). First recital in New York in April at Town Hall. Spends the summer with the Busch family and discovers the chamber music repertoire with Adolf and Hermann. Meets William Kapell and Isaac Stern and strikes up a friendship with them. In December, debut with the Chicago Symphony (Rachmaninoff, Concerto No. 3) and return with the New York Philharmonic and Rodzinski (Beethoven, Concerto No. 4).

19442020-05-05T15:28:31+02:00

1945

1945

2020-05-05T15:32:54+02:00

From January 8 to March 24, gives 54 concerts with Adolf Busch and his chamber orchestra, adding Mozart’s Concerto K. 271 and Chopin’s Andante Spianato et Grande Polonaise to the previous repertoire. Makes his first recording in April: Bach’s Concerto BWV 1052. Debut with the National Symphony (Chopin, Concerto No. 2) with such success that he has to play two encores. Spends the summer once again with the Busch family. Acquires his first important painting, a gouache by Picasso.

With Adolf Busch in Columbia Studio

19452020-05-05T15:32:54+02:00

1946

1946

2021-02-09T09:55:22+01:00

In February, gives his graduate recital at the Curtis Institute, then his first recital at Carnegie Hall, playing Brahms’ Handel Variations and Chopin’s 4 Scherzos. Returns with the New York Philharmonic and Rodzinski for Beethoven’s Emperor. Auditions for Paul Paray, who promises to invite him. Spends the summer at Martha’s Vineyard and practices Gaspard de la nuit. Paul Goodman translates for him the prose poems by Aloysius Bertrand which inspired Ravel. Develops a passion for the works of Ezra Pound. On December 6, second recital at Carnegie Hall. 

19462021-02-09T09:55:22+01:00

1947

1947

2020-05-05T15:44:36+02:00

On January 7, Rodzinski writes to his most distinguished colleagues (Koussevitsky, Monteux, Szell, Mitropoulos and Dorati), suggesting that they invite a very talented young pianist: Eugene Istomin. Gives numerous Community Concerts all over the US. Is acclaimed at Lewisohn Stadium after playing Beethoven’s Emperor with the New York Philharmonic and gives Ravel’s Ondine as an encore. First conflict with his management. Spends a lot of time in Greenwich Village talking with avant-garde artists and left-wing activists.

Artur Rodzinski in the early 1940s

19472020-05-05T15:44:36+02:00

1948

1948

2020-05-05T15:49:23+02:00

Recital at Carnegie Hall on February 20, where Gaspard de la nuit is a great success. In March, first collaboration with Szell (the Chopin Second with the New York Philharmonic). From March to September takes a sabbatical in France (Paris, Nice and Cap Ferrat) and visits Florence and Rome. Adolf Busch asks him to attend his first concert in Germany since 1933. Participates in a concert dedicated to Tolstoy. Following Mrs. Leventritt’s advice, tries to heal his stage fright by psychoanalysis.

George Szell in the late 1940s

19482020-05-05T15:49:23+02:00

1949

1949

2020-05-05T15:59:59+02:00

Two concerts with the New York Philharmonic, in June under Reiner (Beethoven Four) and under Stokowski at Carnegie Hall (Mozart K. 271). Plays the Beethoven Fifth in Houston (Efrem Kurtz) and New Orleans (Massimo Freccia). Spends most of the summer with his friend William Kapell. On Mrs Leventritt’s initiative, meets Alexander Schneider and performs the Beethoven complete Violin Sonatas four times during the fall. First appearance with Szell in Cleveland in November (Mozart K. 271).

19492020-05-05T15:59:59+02:00

1950

1950

2020-05-05T16:03:16+02:00

Concerts in January with the Chicago Symphony under Ormandy and Szell, and in February with Pittsburgh under Paul Paray. First concerts in France in spring, invited by Paray. He is the youngest participant in the Prades Festival, and spends the whole summer there with Casals. In autumn, concerts in Italy, Lisbon and Switzerland, thanks to the recommendations of Casals and Serkin. First concerts with Steinberg in Buffalo in December. Records Bach’s 5th Brandenburg Concerto, Toccata BWV 914 and Trio Sonata BWV 1038.

Pablo Casals smoking at home

19502020-05-05T16:03:16+02:00

1951

1951

2020-05-05T16:15:55+02:00

Recital at Carnegie Hall on January 12. Tours in USA and Canada. Records the Brahms’ Handel Variations in March, his first solo recording. Participates in the Perpignan Festival in July, recording Mozart’s Concerto K. 449 under Casals as well as four Beethoven Trios and Schubert’s First with Schneider and Casals. Visits Greece in August, which appears to him as the “cradle of our civilization”. Becomes friendly with Manos Hadjidakis. Tour in Italy in the autumn, including a concert at La Scala.

Rehearsing with Casals in 1952

19512020-05-05T16:15:55+02:00

1952

1952

2020-05-05T16:20:31+02:00

Many invitations from major American orchestras (Pittsburgh, Boston, Montreal, Los Angeles, Philadelphia), particularly during summer festivals (Ravinia, Philadelphia, Robin Hood Dell, Hollywood Bowl, Lewisohn Stadium), joining again Paray, Szell and Steinberg, and collaborating for the first time with Kubelik and Leinsdorf. Participates in the Prades Festival in June, where he plays with Casals, Stern and Schneider and accompanies Jennie Tourel.

With Jennie Tourel in Prades

19522020-05-05T16:20:31+02:00

1953

1953

2020-09-27T16:02:02+02:00

Together with Madeline Foley, replaces Schneider as Artistic Director of the Prades Festival. Hires new soloists (Kapell, Grumiaux, Fuchs) and an orchestra composed mainly of outstanding American instrumentalists. Tragic death of his friend William Kapell in a plane crash. In December, impressive series of tremendous successes: Brahms’ Second in New York with Szell, Chopin’s Second in Detroit with Paray and Beethoven’s Fourth in Philadelphia with Ormandy. Records two Beethoven Trios with Fuchs and Casals.

Rehearsing with Casals in Prades 

19532020-09-27T16:02:02+02:00

1954

1954

2020-05-05T16:54:50+02:00

Performs the Beethoven Fourth with Szell in Cleveland and Jorda in San Francisco, the Beethoven Fifth with Katims in Seattle, the Chopin Second with Ormandy in Philadelphia and Krips in Montreal, Organizes the Prades Festival, devoted to Beethoven’s chamber music with Casals, Fuchs, Goldberg, Serkin and Horszowski. The festival is a great success. It is recorded by the French Radio and broadcast all over Europe. His recital in London in October wins the Harriet Cohen Award for best recital of the year.

19542020-05-05T16:54:50+02:00

1955

1955

2020-05-05T17:02:05+02:00

Assumes for the last time the artistic direction of the Prades Festival, giving six concerts in ten days with Casals, Menuhin and Vegh. In August, first concerts of the Istomin-Stern-Rose Trio in Ravinia, which are well received by the audience, while the critics are more divided. Debut with the Munch and the Boston Symphony. First tours in South America and South Africa. Memorable Beethoven Fourth Concerto with Szell and the New York Philharmonic in December. On David Oppenheim’s initiative, starts an ambitious program of recordings for Columbia with the Chopin Nocturnes.

19552020-05-05T17:02:05+02:00

1956

1956

2021-02-09T09:59:41+01:00

Tour in Iceland. First tour in Asia (50 concerts in Singapore, Hong Kong, Japan and Manila). Concerts in England, Switzerland and Italy. Concert tour in Australia which he has to interrupt due to burnout. Organizes a series of concerts for Clara Haskil in the USA. Time Magazine devotes a portrait to him in which he is considered the equal of Rachmaninoff, Rubinstein, Horowitz and Serkin! Records the Rachmaninoff 2nd Concerto. The LP is a huge success and sells more than 200, 000 copies.

19562021-02-09T09:59:41+01:00

1957

1957

2020-09-27T16:04:01+02:00

Concerts with Monteux in Montreal, Mitropoulos in New York, Ormandy, Paray, Reiner, Markevitch. Short tours in Europe (England and Netherlands). Returns to Australia. Participates in the first Casals Festival in Puerto Rico. Spends the summer in Marlboro. Appears on the cover of Musical America under the title: “The World at his Fingertips”. McCormick, editor-in-chief at Double Day, proposes that he write his autobiography. Records Mozart’s Quartet K. 493 and Brahms’ Intermezzi Op. 117.

19572020-09-27T16:04:01+02:00

1958

1958

2021-02-27T12:21:16+01:00

In January, records Beethoven’s Emperor Concerto with Ormandy. New tour in South Africa. Concerts with Bernstein and the New York Philharmonic (Schumann Concerto) in the presence of Casals. Participates in the Casals Festival in Puerto Rico and spends most of the summer in Marlboro again. First performance with the Budapest Quartet at the Library of Congress. Many concerts with Munch in Boston and Tanglewood. 

Piano duets with Charles Munch!

19582021-02-27T12:21:16+01:00

1959

1959

2020-09-27T16:08:30+02:00

Long tour in spring with the Royal Scottish Orchestra under Hans Swarowski (Chopin, Second Concerto). First meeting with Arnold Toynbee. Concerts with Munch, Ormandy, Hendl, and Krips. Important participation in the Casals Festival in Puerto Rico where he plays the Schumann Concerto under Schneider, trios by Mendelssohn and Brahms with Stern and Casals, and accompanies Eileen Farrell in Schubert songs. Returns to Marlboro in August. Records the Tchaikovsky First and Chopin Second with Ormandy and Philadelphia.

With Schneider and Casals 

19592020-09-27T16:08:30+02:00

1960

1960

2020-09-27T16:09:08+02:00

Records Schumann’s Concerto under the direction of Bruno Walter in January. Conflicts with Columbia and cancellation of the other scheduled recordings. Multiple performances of Beethoven’s 4th and 5th Concertos (Philadelphia, Minnesota, Los Angeles, Houston, National Symphony…), as well as Leon Kirchner’s 1st Concerto (including three times with the San Francisco Symphony under the composer). Becomes fully committed to the presidential campaign in support of Kennedy.

With Bruno Walter in the studio

19602020-09-27T16:09:08+02:00

1961

1961

2020-05-05T20:03:47+02:00

Performs with at least twelve American orchestras: San Francisco, Detroit (Tornakowsky), Boston (Munch and Monteux), Philadelphia (Ormandy), National Symphony, Chicago (Reiner), Milwaukee, Seattle, Rochester, Los Angeles, Rhode Island and New England. Once again spends a part of the summer in Marlboro. Official launch of the Istomin-Stern-Rose Trio at the Israel Festival. In November and December, plays concertos and trios in London.

Rehearsing with Stern and Rose, 1961

19612020-05-05T20:03:47+02:00

1962

1962

2020-05-05T21:57:24+02:00

Spectacular debut of the Trio in the USA at Carnegie Hall, the Metropolitan Museum and the White House! Filled with enthusiasm after meeting Kennedy, he is willing to serve his country and be an ambassador of good will. Two concerts at Seattle’s World Fair. Soloist with the Puerto Rico Festival Orchestra at Carnegie Hall. Participates in the first Athens Festival at the Herode Atticus Theater and establishes a close relationship with Princess Irene of Greece. Plays the Brahms Second under Bernstein in the newly inaugurated Lincoln Center. Soloist in Paray’s farewell concerts in Detroit. Changes his management, leaving CAMI for Hurok.

Kennedy greets Istomin and Rose

19622020-05-05T21:57:24+02:00

1963

1963

2020-05-02T16:44:04+02:00

Acts as cultural ambassador of goodwill by giving concerts in Bulgaria for two weeks, in Ankara, Beirut and Tehran. Strikes up a lifetime friendship in Sofia with musicians Jerzy Semkow and Jean-Bernard Pommier and Ambassador Eugenie Anderson who later introduces him to Hubert Humphrey. From May to October, gives 80 concerts in Europe and Israel, including a series of 9 concerts with the Israel Philharmonic under the young Zubin Mehta. Takes part, alone or with Stern and Rose, in almost every major European festival (Aix, Lucerne, Edinburgh, Israel, Menton, Montreux). Shattered by Kennedy’s assassination.

19632020-05-02T16:44:04+02:00

1964

1964

2021-02-27T12:49:47+01:00

Tour with the Los Angeles Philharmonic in January. Recital at Carnegie Hall in February – again a tremendous reception from the audience but mixed reviews. Gives 7 concerts with the Philadelphia Orchestra and 6 with the Boston Symphony. Supports Johnson and Humphrey against Goldwater in the presidential election. Approves Humphrey’s plan to establish a National Council and Foundation for the Arts. The concerts of the Trio are sold out everywhere (five in New York, including two at Carnegie Hall). Records the Brahms Trio Op. 87, the Beethoven Triple Concerto and Schubert’s First Trio.

19642021-02-27T12:49:47+01:00

1965

1965

2021-02-27T12:51:31+01:00

Attends the Presidential Inauguration of Johnson. Cultural ambassador in spring, touring Russia and Romania. First concert at the Théâtre des Champs-Elysées (with the Orchestre National de France under Kletzki). Strikes up a friendship with the painter Avigdor Arikha and Samuel Beckett. Returns to Prades. At Rubinstein’s request, learns Szymanowski’s Symphonie Concertante and plays it under Skrowaczewski. Records Brahms’ Second Concerto with Ormandy. Publication of Sessions’ Third Piano Sonata dedicated to Istomin.

With Ormandy and Eugenie Anderson

19652021-02-27T12:51:31+01:00

1966

1966

2020-05-06T11:06:16+02:00

Eight concerts with the Philadelphia Orchestra under Ormandy and Maazel. Returns with the Cleveland Orchestra under George Szell. Summer residence in Detroit with the Trio and its “students” (Pommier, Zukerman, Harrell). Goes to Vietnam but his recital is cancelled for security reasons. Realizes the impossibility of winning this war and the duplicity of the CIA. Participates along with Vice-President Humphrey in the celebration of Casals’ 90th birthday. American tour with the Trio, recording Beethoven No. 3 and Mendelssohn No. 1.

The Trio in Central Park

19662020-05-06T11:06:16+02:00

1967

1967

2020-09-27T16:10:17+02:00

First tour in New Zealand. Plays with the Trio for the Montreal World Exhibition. After the coup in Greece, welcomes his friend Manos Hadjidakis to his apartment in New York. Fulfills his contract for two concerts with the Trio at the Herode Atticus Theater, but voices his disapproval and refuses to perform in Greece from then on. His support was acknowledged in 1974 by the new Greek democratic authorities. Participates again in the Israel Festival, with the Trio and as the soloist of the Israel Philharmonic (Brahms Second under Josef Krips). Ends the year in Europe (concerts in England, Switzerland and France).

Manos Hadjidakis

19672020-09-27T16:10:17+02:00

1968

1968

2020-05-06T11:18:38+02:00

Supports Humphrey’s candidacy for the presidential election. Takes the lead of the Arts and Letters Committee in a very conflicting atmosphere, up to the point that he is whistled at when walking onstage at the Lincoln Center. Invited to the Lucerne and Edinburgh festivals where he performs Schubert’s Trio in E-flat for the first time and meets Rostropovich. Humphrey, narrowly defeated by Nixon, says that he would have asked Istomin to be his cultural advisor. Records two Brahms Trios and the Beethoven Fourth Concerto for the 25th anniversary of his debut.

Hubert Humphrey and Eugene Istomin

19682020-05-06T11:18:38+02:00

1969

1969

2021-02-27T13:00:20+01:00

Tours in Asia and New Zealand. Numerous concerts with American orchestras: Boston under Leinsdorf, Philadelphia under Ormandy, Detroit under Erhling, Pittsburgh under Steinberg, Baltimore under Comissiona. A year very rich in recordings: Schubert (Trio D. 929 with Stern and Rose and Sonata D. 850); Beethoven (2 Violin Sonatas with Stern, 2 Cello Sonatas with Rose, 3 Trios); Songs by Ned Rorem with the baritone Donald Gramm.

LP cover of Schubert’s Sonata D. 850

19692021-02-27T13:00:20+01:00

1970

1970

2020-09-27T16:17:41+02:00

Beethoven bicentennial year. The Istomin-Stern-Rose Trio makes headlines, touring the USA and South America in spring, and Israel in summer. The Trio meets the unprecedented challenge of performing Beethoven’s complete chamber music with piano in four cycles of eight concerts in London, Paris, Switzerland and New York (Carnegie Hall). This adds up to more than 60 concerts (including the Triple Concerto under Casals). Participates in the US summer festivals: Hollywood Bowl, Saratoga, Blossom. Completes the recording of the Beethoven Trios (which receives a Grammy Award). However, in conflict with Columbia, refuses to finish the violin and cello sonatas.

19702020-09-27T16:17:41+02:00

1971

1971

2020-09-27T17:57:58+02:00

Reasserts his willingness to serve as a cultural ambassador, offering to go and perform in China. In January and February, recitals in Boston and Paris. The Trio performs for the inauguration of the Kennedy Center and goes on tour in Japan (Istomin also gives a recital in Tokyo). Plays Bach’s Concerto BWV 1064 at the UN when Casals is presented the Peace Medal. Death of his father on November 15 while he is on tour with the National Symphony and Dorati. Successful recital at Carnegie Hall. The New York Times publishes a portrait entitled: “Istomin: I like to be Alone”.

Eugene Istomin with his parents

19712020-09-27T17:57:58+02:00

1972

1972

2021-02-09T10:03:26+01:00

As Humphrey is a candidate for the Democratic primaries, provides his support but in a less committed way. Abandons all political activity after Humphrey is overtaken by McGovern. Arikha’s first exhibition in the USA. Series of televised concerts in Paris under Schneider: Mozart Concertos K. 271, 449365. Numerous recitals in prestigious venues (Queen Elizabeth Hall, Academy of Music in Philadelphia, Chicago Orchestra Hall, Boston, San Francisco). Summer residencies with the Detroit Symphony, the Cleveland Orchestra and the Chicago Symphony.

With Jean-Bernard Pommier in 1972

19722021-02-09T10:03:26+01:00

1973

1973

2021-02-09T10:25:03+01:00

First semester mainly dedicated to recitals: Fantasies by Beethoven and Mozart, two Impromptus by Schubert, Handel Variations by Brahms, Debussy’s Preludes and the 4th Ballade by Chopin. Concerts with the Chicago Symphony and Solti (Mozart K. 271). Plays the Symphonie Concertante by Szymanowski with the Cleveland Orchestra. Participates in the Israel Festival in August. Series “Stern and Friends” at Carnegie Hall in autumn. Death of Casals on October 22. Delivers Casals’ eulogy at Columbia University.

With Stern and Rose in the early 1970s

19732021-02-09T10:25:03+01:00

1974

1974

2021-02-27T13:05:42+01:00

In January, concert with the Trio at Carnegie Hall. Strong presence in Europe. Gives recitals in London and Paris and plays with the Radio Orchestras. Films the complete Brahms Trios for the French Television. Agrees to play in Germany (Bonn and Frankfurt) for the first time. Performs under his friend and former student Pommier. Many concerts with Skrowaczewski (Detroit and Minneapolis) and Ormandy  (in Philadelphia and Washington). Tours the USA with the Trio in November. Becomes aware of his love for Marta Casals.

19742021-02-27T13:05:42+01:00

1975

1975

2020-09-27T18:01:38+02:00

In January takes part in a tribute to Albert Schweitzer, Casals’ close friend. Marriage to Marta in New York on February 15. Tours in Latin America and Canada. Important participation in the Puerto Rico Festival: chamber music with Stern, Rose, Zukerman, Forrester, and Emperor Concerto. New collaboration with the National Symphony and Dorati. Starts a lasting association with David Zinman. Principal guest of the Mostly Mozart Festival. Plays Mozart’s Concerto K. 467 for the first time, under Eduardo Mata. In autumn, tour in Asia.

Marta and Eugene’s wedding

19752020-09-27T18:01:38+02:00

1976

1976

2020-05-06T14:47:11+02:00

Numerous concerts in Europe (France, Poland, Italy, Switzerland, Portugal). Plays in Spain, finally liberated from Franco. Collaborations with Tilson Thomas and Ormandy. Divides his summer between the USA (Hollywood Bowl, Mostly Mozart, Puerto Rico) and Europe (Prades, Lucern). Organizes the Jornadas Casals in Mexico for the 100th anniversary of Casals’ birth, creating a Mexican orchestra and inviting the London Symphony. At Horowitz’s suggestion, prepares the Chopin Variations by Rachmaninoff. After returning to CAMI, changes his management again and signs with ICM.

19762020-05-06T14:47:11+02:00

1977

1977

2019-05-25T19:10:03+02:00

In February, tour in Italy. In March, recital at the Kennedy Center. Improvises an accompaniment for Luciano Pavarotti and Renata Scotto during a social event. First concerts under Rostropovich at the Kennedy Center and Carnegie Hall. Repeated collaborations with Jerzy Semkow (in Saint Louis and Puerto Rico) and Sergiu Comissiona (in Pittsburgh and Baltimore). In the fall, American tour with the Trio. Columbia reissues some of his LPs (Schumann, Tchaikovsky, Chopin) and proposes new recording projects, soon to be abandoned.

Marta and Eugene Istomin in 1976

19772019-05-25T19:10:03+02:00

1978

1978

2020-05-02T18:59:41+02:00

Death of Humphrey in January. Participates in two tribute concerts. Gives nearly 100 concerts with orchestra, with Tennstedt (Detroit Symphony, Israel Philharmonic), Dorati (National Symphony), Steinberg (Seattle), Comissiona (American Symphony), Rudel (Mostly Mozart Festival), Skrowaczewski (Minneapolis), Mehta (Los Angeles), Erhling (Detroit Symphony), Zinman (Rochester), Fleisher (Annapolis) Joo (Calgary), Eros (San Diego), Gamba (Winnipeg), etc. Returns to Germany and goes to Austria for the first time.

19782020-05-02T18:59:41+02:00

1979

1979

2021-02-27T13:13:29+01:00

Concerts and recitals in the USA and Europe. After the signing of the Israeli-Egyptian Peace Treaty, obtains the agreement of all authorities to give master classes and concerts in Cairo and Jerusalem. Attempts to promote exchanges between Israeli and Egyptian musicians. Tours in Germany, Austria, Spain, France and South America. Death of his mother while playing Brahms’ 2nd Concerto with the Philadelphia Orchestra. His love for books led him to become the advisor to William Jovanovich, the president of the major American publishing house HBJ. Last recording of the Trio, the Mendelssohn Second Trio.

The Istomins and the Jovanovichs

19792021-02-27T13:13:29+01:00

1980

1980

2020-05-06T15:51:10+02:00

Last tour of the Trio in January and February. Encourages Marta to accept the artistic direction of the Kennedy Center. Concerts with Mehta (New York Philharmonic), Dorati (Detroit Symphony and Royal Philharmonic), Rostropovich (National Symphony), Zukerman (English Chamber) and Pommier (Orchestre National de France). At Ormandy’s request, performs the Tchaikovsky Concerto again for the 90th anniversary of Carnegie Hall. Supervises the re-edition of Joseph Conrad’s complete works for HBJ.

Eugene Ormandy and Eugene Istomin

19802020-05-06T15:51:10+02:00

1981

1981

2020-05-06T15:58:09+02:00

Although very disappointed by Reagan’s election, accepts Rostropovich’s request to stand in for Serkin and perform for the inaugural concert on January 18. Numerous performances of Mozart’s Concerto K. 467. Inaugurates the Pau Casals Auditorium in Sant Salvador, built in front of Casals’ house, now transformed into a museum. The diplomatic tension caused by the War in Afghanistan forced him to abandon a project he had enthusiastically launched for HBJ: a series of books on the collections of the Hermitage Museum.

19812020-05-06T15:58:09+02:00

1982

1982

2021-02-09T10:27:42+01:00

Numerous recitals, notably in London (Queen Elizabeth Hall) and Chicago (Orchestra Hall): Bach, Toccata BWV 914; Stravinsky Sonata; Beethoven, Waldstein Sonata; Mozart, Sonata K. 576, Chopin Nocturne Op. 15 No.1 and Scherzo No. 4. Collaborations with Rostropovich (National Symphony), Bychkov (Buffalo), Mehta (Philadelphia). The Trio pays homage to Abe Fortas, former  Supreme Court judge, who died in April. Moves to Watergate in Washington. Continuation of the recording of the Beethoven Violin Sonatas with Stern.

Marta and Eugene Istomin, late 1970s

19822021-02-09T10:27:42+01:00

1983

1983

2020-05-06T16:20:52+02:00

Performs Rachmaninoff’s Fourth Concerto for the first time in September with the National Symphony under Rostropovich and in October with the Rochester Philharmonic under Zinman. In May, last concert with Ormandy (with the Philadelphia Orchestra at Carnegie Hall). On November 22, last moving appearance of the Trio, playing the Andante of the Schubert B flat major Trio for the 20th anniversary of Kennedy’s death. Completes the recording of the Beethoven Violin Sonatas with Stern.

19832020-05-06T16:20:52+02:00

1984

1984

2020-05-06T21:39:10+02:00

Begins the year in Europe. Recital at the Kennedy Center in May. After a concert at the Hollywood Bowl, returns to Marlboro after an absence of 22 years. Concert at the Juilliard School in homage to Leonard Rose, who died from leukemia on November 16. Buys the Steinway CD 18 which belonged to Horowitz and on which he had recorded Rachmaninoff’s 2nd Concerto in 1956. His favorite baseball team, the Detroit Tigers, triumphs in the World Series Championship.

Istomin in Detroit Tigers uniform

19842020-05-06T21:39:10+02:00

1985

1985

2021-02-09T10:29:06+01:00

Member of the prestigious American delegation at the Budapest Cultural Forum in October and November. Fights against the ban in Prague of Catastrophe, a Beckett play dedicated to Václav Havel. Once again spends part of the summer in Marlboro. Accepts the direction of the Competition and Festival of the Maryland University, which he re-names in honor of William Kapell. Publication by HBJ of the facsimile edition of the Complete Works by Thomas Hardy, in 24 volumes, which he had proposed and personally supervised.

Samuel Beckett

19852021-02-09T10:29:06+01:00

1986

1986

2020-09-27T18:27:32+02:00

Completely changes his management in Europe, choosing Riaskoff (Benelux and Germany), Ingpen & Williams (UK), Sofia Amman (Italy) and Valmalète (France), hoping for better coherence and less transatlantic flights. Many concerts in France, Spain, Switzerland, Portugal and Israel. First edition of the Kapell Competition with a very high-level jury (Ax, Kuerti, Orozco, Pommier, Tocco, Toradze, Graffman, Aeschbacher, Lipkin, Magaloff, Browning, etc.). Commissions a piece from Dutilleux as the compulsory work for the 1988 edition.

 

19862020-09-27T18:27:32+02:00

1987

1987

2020-09-27T18:29:11+02:00

Several European tours, in Italy (February and October), Benelux (November) and England (December). New recital program with works he had never performed: Schumann, Sonata 1; DebussyImages, Book 1. Notable performances given at Carnegie Hall and the Queen Elizabeth Hall (Rostropovich present) and subsequent recording made. Resigns from the Kapell Competition. Holidays in France (his first summer vacation since 1948).

With Pommier and Rorem in Maryland

19872020-09-27T18:29:11+02:00

1988

1988

2020-05-06T22:02:20+02:00

First tours across the USA with a specially equipped truck. Wants to play on his own pianos to give his best and bring music to cities now deserted by the usual concert circuits. Around 70 concerts (including some with orchestras and recitals in major cities, from January to March, then in September and October). Repeated collaborations with Rostropovich and the National Symphony (Brahms’ 2nd Concerto, Beethoven’s 4th Concerto). Concerts in France, Germany and Switzerland. Ends the year in Japan, Korea, Taiwan and Hong Kong.

19882020-05-06T22:02:20+02:00

1989

1989

2021-02-09T10:31:22+01:00

From January to March, new truck tour with stops in Washington and New York (recitals at the Kennedy Center and Carnegie Hall) and Rochester (Beethoven 5th Concerto with Semkow). Death of Kyriena Siloti on July 28. Recital at the Montreux Festival in September, then long tour in Italy. In October and November second concert tour with the truck. Enlarges his solo repertoire, alternating two different programs and presenting an all-Beethoven program in Italy for the first time. Undergoes surgery for tendinitis of the index finger.

19892021-02-09T10:31:22+01:00

1990

1990

2020-05-02T20:05:06+02:00

Truck tour from January 31 to April 17. Tour in Italy in May. Participates in the Evian Festival which celebrates Stern’s 70th birthday, playing the Archduke Trio with Stern and Rostropovich. After another truck tour in September, gives eight concerts in October with the Hallé Orchestra and Skrowaczewski (Mozart K. 467). Marta leaves the Kennedy Center. On November 5, organizes a concert at the Juilliard School in homage to Alexander and Kyriena Siloti. Tour in Australia in November. Beethoven recital at Carnegie Hall on December 5.

Rostropovich and Istomin in 1988

 

19902020-05-02T20:05:06+02:00

1991

1991

2020-09-27T18:31:57+02:00

Three truck tours in USA. Concerts with Rostropovich and the National Symphony in September (Beethoven‘s Fourth Concerto). Participates in Carnegie Hall Centennial Gala. Concert tour in France in October with a pilgrimage recital in the Théâtre de Perpignan and a Beethoven recital at the Théâtre des Champs-Elysées. Records Beethoven Sonatas 14, 21 and 31 (CD issued in 1996 by Reference Recordings).

Eugene and Marta Istomin in Connecticut

19912020-09-27T18:31:57+02:00

1992

1992

2020-05-02T19:28:00+02:00

New truck tours in the USA in January, February and September. Takes part in the Casals Festival in Puerto Rico and in the Evian Festival where he plays Beethoven’s Emperor Concerto with the Juilliard School Orchestra under Jean-Pierre Rampal and gives chamber music concert with Kavakos, Giuranna and Rostropovich. Tour in Switzerland, France and Italy.

Eugene Istomin portrayed by his friend Avigdor Arikha

19922020-05-02T19:28:00+02:00

1993

1993

2020-05-12T15:18:38+02:00

Three truck tours in January-February, April and September. Invited by the Mostly Mozart Festival (Beethoven’s Fourth Concerto under Schwarz). Tour in France and Spain in  fall. His concert in homage to Casals for the 20th anniversary of his death is recorded live at the Théâtre des Champs-Elysées and issued on a private CD (Bach, Toccata BWV 914; Mozart Sonata K. 283; Casals, Prelude; Medtner, Sonata Op. 22; Beethoven, Waldstein Sonata).

On the stage of the Kennedy Center

19932020-05-12T15:18:38+02:00

1994

1994

2020-09-27T18:33:43+02:00

1994 : Last truck tour. In February concerts with Rostropovich at the Kennedy Center and Carnegie Hall (Beethoven’s Third Concerto). Participates in the Evian Festival, playing Beethoven’s Fourth with the Curtis Institute Orchestra and chamber music with Laredo and Rostropovich. Plays with the Philadelphia Orchestra for the Pension Fund concert. 1995 : Year divided between Europe and the USA. Records two Mozart concertos (K. 467 and K. 491) with the Seattle Symphony under Schwarz. In September, participates in a cruise on the Mediterranean dedicated to Casals.

19942020-09-27T18:33:43+02:00

1996

1996

2020-12-26T17:29:04+01:00

1996 : Tour in Europe in January and February (Spain, Switzerland, France) with recitals at the Palau de la Música, Tonhalle and Salle Gaveau. Performs the prelude dedicated to him by Dutilleux for the first time. Concerts in Italy and the Netherlands in autumn.                    1997: Year disrupted by major hand surgery on thumb. Concerts in Italy, Poland and England. Participates in the Evian Festival, playing with Stern, Bashmet and Rostropovich. In autumn, recital at the Kennedy Center.

With Bashmet and Rostropovich 

19962020-12-26T17:29:04+01:00

1998

1998

2020-09-27T18:35:50+02:00

1998 : European tour in autumn, including concerts with the orchestra of the San Carlo Opera orchestra in Napoli (Beethoven, Concerto No. 3), with the Orchestre National de Lille under Jean-Claude Casadesus (Mozart, Concerto No. 21) and a recital in Madrid.                1999 : Recitals in the south of USA. Plays the Beethoven Third Concerto at the Lincoln Center under Gerard Schwarz. Series of master classes at the Manhattan School of Music.

At Manhattan School of Music

19982020-09-27T18:35:50+02:00

2000

2000

2021-02-27T18:11:54+01:00

Participates in the Kronberg Festival (master classes and concerts). Is made Chevalier de la Légion d’Honneur at the Théâtre du Châtelet, where he made his debut in France just 50 years earlier. Jubilee in New York for his 75th birthday initiated by Rostropovich and with all his musician friends. The benefit proceeds from this night allow for the creation of two scholarships in the name of Eugene Istomin at the Manhattan School of Music. Carries out his project to pay tribute to Paul Paray by recording his Fantasy for Piano and Orchestra.

Receiving the Légion d’Honneur

20002021-02-27T18:11:54+01:00

2001

2001

2020-09-29T18:14:30+02:00

In June, participates in the inaugural concert of the renovated Casals Museum in Sant Salvador, with Rostropovich and Montserrat Caballé, in the presence of the King of Spain and the president of Catalonia. In December, records the first part of his Great Conversations in Music series, which is dedicated to the piano, with Emanuel Ax, Yefim Bronfman, Gary Graffman, Leon Fleisher and Charles Rosen.

Graffman, Ax and Bronfman

20012020-09-29T18:14:30+02:00

2002

2002

2020-05-10T19:35:01+02:00

Discovery of his liver cancer. In April records the second part of the Great Conversations in Music with the composers Ned Rorem, George Perle, Milton Babbitt, Richard Danielpour, Lowell Liebermann and Ellen Taaffe Zwilich. In November, carries out a new episode about string instruments and chamber music with Claude and Pamela Frank, Lynn Harrell, Joseph Kalichstein, Jaime Laredo, Yo-Yo Ma, Sharon Robinson and Arnold Steinhardt.

Eugene Istomin and Chutney

20022020-05-10T19:35:01+02:00

2003

2003

2019-05-25T19:31:39+02:00

Last part of the Great Conversations in Music with conductors James Conlon, Zubin Mehta and Mstislav Rostropovich. Dies in Washington on October 10.

20032019-05-25T19:31:39+02:00
Go to Top