Book contents
- Frontmatter
- Contents
- List of Illustrations
- Preface
- Acknowledgements
- Miscellaneous Frontmatter
- Chapter One Conquering Brazil—Mangoes, Cantadores, and the Importance of Solfège
- Chapter Two Establishing Himself in the United States Yale, Hindemith, and Winning the Koussevitzky Prize
- Chapter Three Realizing a Dream—An International Solo Career
- Entr'acte: Parisot as Painter—The Importance of the Circle—Spectrum of Color in Art and Music
- Chapter Four Extraordinary Performances: the Parisonatina and Others—The Alaska Trip: a Beaver Coat for the Cello
- Chapter Five Extraordinary Performances—The Most Difficult Cello Concerto—Continuing to Champion Contemporary Music
- A Journey: The Polish Tour
- Chapter Six In a Spirit of Generosity—Cello Festivals in Brazil's Nordeste and Brazil's “Switzerland”
- Chapter Seven The Yale Cellos—A Sound of Clarity and Beautiful Resonance
- A Journey to China After the Cultural Revolution
- Chapter Eight Parisot as Master Teacher—Festivals Master Classes, Competitions
- Appendix One Composer Descriptions of Works Dedicated to Parisot
- Appendix Two Additional Material on Festivals, Competitions, and Conservatories
- Appendix Three Interviews with Colleagues (former students).
- Appendix Four Parisot's “Keynote Address” at Commencement at the Harid Conservatory, May 1994
- Appendix Five Aldo Parisot: Awards
- Selected Bibliography
- Selected Discography
- Index
Chapter Five - Extraordinary Performances—The Most Difficult Cello Concerto—Continuing to Champion Contemporary Music
- Frontmatter
- Contents
- List of Illustrations
- Preface
- Acknowledgements
- Miscellaneous Frontmatter
- Chapter One Conquering Brazil—Mangoes, Cantadores, and the Importance of Solfège
- Chapter Two Establishing Himself in the United States Yale, Hindemith, and Winning the Koussevitzky Prize
- Chapter Three Realizing a Dream—An International Solo Career
- Entr'acte: Parisot as Painter—The Importance of the Circle—Spectrum of Color in Art and Music
- Chapter Four Extraordinary Performances: the Parisonatina and Others—The Alaska Trip: a Beaver Coat for the Cello
- Chapter Five Extraordinary Performances—The Most Difficult Cello Concerto—Continuing to Champion Contemporary Music
- A Journey: The Polish Tour
- Chapter Six In a Spirit of Generosity—Cello Festivals in Brazil's Nordeste and Brazil's “Switzerland”
- Chapter Seven The Yale Cellos—A Sound of Clarity and Beautiful Resonance
- A Journey to China After the Cultural Revolution
- Chapter Eight Parisot as Master Teacher—Festivals Master Classes, Competitions
- Appendix One Composer Descriptions of Works Dedicated to Parisot
- Appendix Two Additional Material on Festivals, Competitions, and Conservatories
- Appendix Three Interviews with Colleagues (former students).
- Appendix Four Parisot's “Keynote Address” at Commencement at the Harid Conservatory, May 1994
- Appendix Five Aldo Parisot: Awards
- Selected Bibliography
- Selected Discography
- Index
Summary
Tailor made: Works by Yehudi Wyner and Alvin Etler. Performing the Schoenberg/Monn Concerto.
“Aldo Parisot is indestructible.” Yehudi Wyner
At home, Parisot continued to seek out new challenges, including newly composed works and works of extreme difficulty, such as the Schoenberg/ Monn Concerto. Other composers were attracted to his warm, colorful sound and beautifully phrased playing and wanted to write for him.
He took the triumph of the Parisonatina to the prestigious venue of Alice Tully Hall in New York on 14 January 1970. The concert included premieres of new works dedicated to Parisot: a composition by James Drew (The Maze Maker, for solo cello and tape) and also one by Joan Panetti (Small Pieces for Gregory).
A new work by Alvin Etler was written especially for Parisot and was for an unusual combination of woodwinds, strings, brass, and one percussionist. Parisot requested a moto perpetuo at the quick tempo of metronome marking 144 for the last movement. (Etler was on the faculty at Yale—in 1942 he came to Yale as conductor of the University Band.) Parisot had suggested in the summer of 1970 when the two met during the Norfolk Chamber Music Festival that Etler write a piece for him. From Etler:
It was nice talking with you during our visit to Norfolk. During our conversation, you may remember, you very rashly suggested a piece for your recital at Tully Hall next season. You may regret mentioning the thought, for the notion of a piece for cello and a few percussion instruments has been bubbling up in imagination, and if you were serious, I do plan to write it. Hope to have it done by mid November, though I will have to concentrate my time in order to do it well, since I cannot begin it until Sept. 12. Do you still want it?
Parisot has written on the back of this letter, perhaps as a draft:
I am indeed serious in asking you to write a piece for cello and percussion. For my New York concert. I want to reiterate how impressed I was with your Clarinet Concerto. I would be very honored to have any of your works to premiere in New York.
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- Aldo Parisot, The CellistThe Importance of the Circle, pp. 73 - 82Publisher: Boydell & BrewerPrint publication year: 2018