Eugene Istomin

Biography

Born: November 26, 1925; New York, NY   Died: October 10, 2003  
American pianist Eugene Istomin, known more for his poise and refinement than for heaven-storming bravura, made himself an important figure both as a solo artist and as a chamber player of rare discretion and musicality. His trio with violinist Isaac Stern and cellist Leonard Rose was recognized for the directness and honesty of its interpretations, always heartfelt. As was true for other pianists, winning the Leventritt Award opened doors for Read more Istomin at a relatively early age. He returned from his first European tour in 1950 a well-established artist and continued to involve himself in music activities of high purpose.

Under the tutelage of Kiriena Siloti, Istomin was prepared for entry into the Curtis Institute where his instructors included such rigorous concert pianists as Mieczyslaw Horszowski and Rudolf Serkin. At 18, he won two important awards, both leading to appearances with orchestras ranking among America's top five. With the Philadelphia Youth Award, he won an engagement with the Philadelphia Orchestra directed by Eugene Ormandy. Istomin's performance of Chopin's Second Piano Concerto was awarded high praise by both the audience and critics. The more prestigious Leventritt Award resulted in a performance of the Brahms Piano Concerto No. 2 with Artur Rodzinski and the New York Philharmonic, an occasion for which he won further accolades from listeners and press alike. With these two successes, offers from other major American orchestras followed and his career moved forward quickly as both an orchestral soloist and a recitalist. Performances with the Busch Chamber Players were applauded and his first recording, Bach's D minor Concerto played with the Busch ensemble, created something of a stir in chamber music circles.

Istomin's European tour of 1950 found him performing with major French orchestras and giving recitals in Switzerland and Italy. It also introduced him to the Pablo Casals Festival in Prades. For each of the following years, he appeared at the French festival, frequently together with the great cellist. Istomin was much appreciated by Casals, who pronounced him "destined for a great career." When Casals established a new festival in San Juan, Puerto Rico, the young pianist became one of its leading artists, once again proving himself a superior collaborator. Critic Howard Taubman described him as a "revelation," praising his singing tone and noting, "not once did he forget that he was part of an intimate chamber music group."

Once Istomin had completed his first European tour, subsequent trips were planned and he performed throughout Europe and America. In 1956, he embarked upon an extended junket to the Far East, giving some 30 concerts through the joint sponsorship of the Sangyo Keizai Shimbun and the American National Theatre and Academy's International Exchange Program. Once again, the reviews were enthusiastic as were the responses of audiences throughout the tour.

Istomin assembled the Istomin/Stern/Rose Trio in 1961, prevailing upon two colleagues with whom he felt an ease and musical kinship. The three made a number of praiseworthy recordings, concentrating on late Classical and Romantic-age composers. Several recording made during the Prades Festivals of the early 1950s have seen release on CD. Istomin also made recordings for the Reference label in the 1990s, all reflecting the pianist's thoughtful musicality and attention to detail.

Istomin's connection with Pablo Casals continued even after the cellist/humanitarian's death when, in 1975, the pianist married Casals' widow, Marta. Read less

There are 36 Eugene Istomin recordings available.

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Biography

Born: November 26, 1925; New York, NY   Died: October 10, 2003  
American pianist Eugene Istomin, known more for his poise and refinement than for heaven-storming bravura, made himself an important figure both as a solo artist and as a chamber player of rare discretion and musicality. His trio with violinist Isaac Stern and cellist Leonard Rose was recognized for the directness and honesty of its interpretations, always heartfelt. As was true for other pianists, winning the Leventritt Award opened doors for Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Trio for Violin, Violoncello and Piano No. 1 in B-flat Major, Op. 99, (D 898): I. Allegro moderato
II. Andante un poco mosso
III. Scherzo. Allegro
IV. Rondo. Allegro vivace
I. Allegro energico
II. Presto non assai
III. Andante grazioso
IV. Allegro molto
I. Allegro con brio
II. Scherzo: Allegro molto
III. Adagio
IV. Allegro
I. Allegro
II. Adagio
III. Andantino grazioso
IV. Allegro
I. Allegro
II. Andante con moto
III. Scherzo: Presto
IV. Finale: Allegro giocoso
I. Adagio sostenuto e espressivo - II. Allegro molto piu tosto presto
III. Rondo: Allegro
Concerto in C Major for Violin, Cello, Piano and Orchestra, Op. 56, "Triple Concerto": I. Allegro
II. Largo
III. Rondo alla Polacca
Trio for Violin, Violoncello and Piano No. 1 in B-flat Major, Op. 99, (D 898): I. Allegro moderato
II. Andante un poco mosso
III. Scherzo. Allegro
I. Allegro moderato
I. Allegro con brio
II. Tema con Variazioni
III. Rondo. Allegro
IV. Rondo. Allegro ma non troppo
II. Andante piů tosto allegretto
III. Allegro piacévole
Sonata for Violin and Piano in E-flat Major, Op. 12, No. 3: I. Allegro con spirito
II. Adagio con molto espressione
III. Rondo. Allegro molto
Sonata for Violin and Piano in A minor, Op. 23: I. Presto
II. Andante scherzoso, piů allegretto
III. Allegro molto
Sonata for Violin and Piano in A Major, Op. 30, No. 1: I. Allegro
II. Adagio molto espressivo
III. Allegretto con variazioni
I. Allegro vivace
I. Allegro vivace
II. Andante piů tosto allegretto
II. Andante piů tosto allegretto
III. Allegro piacévole
III. Allegro piacévole
IV. Finale. Allegro
IV. Finale. Allegro
Sonata for Violin and Piano in G Major, Op. 96: I. Allegro moderato
II. Adagio espressivo
III. Scherzo. Allegro
IV. Poco allegretto
Sonata for Violin and Piano in F Major, Op. 24 "Spring": I. Allegro
II. Adagio molto espressivo
III. Scherzo. Allegro molto
IV. Rondo. Allegro ma non troppo
Sonata for Violin and Piano in G Major, Op. 30, No. 3: I. Allegro assai
II. Tempo di minuetto, ma molto moderato e grazioso
I. Allegro con spirito
II. Adagio con molto espressione
III. Rondo. Allegro molto
III. Scherzo. Allegro
Caprice basque, Op. 24
Largo espressivo from Sonata in D Major, Op. 8, No. 3
Perpetuum Mobile, Op. 5, No. 4
I. Allegro vivace
II. Andante piů tosto allegretto
III. Allegro piacévole
IV. Finale. Allegro
IV. Finale. Allegro
Allegro vivace
Prophetic Bird from Waldscenen, Op. 82, No. 7
Schön Rosmarin
Slavonic Dance in E minor, Op. 46, No. 2
Sonata for Violin and Piano in F Major, Op. 24 "Spring": I. Allegro
II. Adagio molto espressivo
III. Scherzo. Allegro molto
IV. Rondo. Allegro ma non troppo
Sonata for Violin and Piano in G Major, Op. 30, No. 3: I. Allegro assai
I. Sehr langsam
I. Allegro con spirito
II. Adagio con molto espressione
III. Rondo. Allegro molto
III. Scherzo. Allegro
Sonata for Violin and Piano No. 1 in D Major, D 384: I. Allegro molto
II. Andante
III. Allegro vivace
Sonata for Violin and Piano No. 2 in A minor, D 385: I. Allegro moderato
II. Andante
III. Menuetto. Allegro - Trio
IV. Allegro
Sonata for Violin and Piano No. 3 in G minor, D 408: I. Allegro giusto
II. Andante
I. Presto
I. Allegro maestoso
II. Andante
III. Allegro vivace assai
I. Allegro
II. Larghetto
III. Allegretto
I. Molto allegro ed agitato
II. Andante con moto tranquillo
III. Scherzo. Leggiero e vivace
IV. Finale. Allegro assai appassionato
Trio for Piano, Violin, and Violoncello No.2 in C minor, Op. 66: I. Allegro energico e con fuoco
II. Andante espressivo
III. Scherzo. Molto allegro - quasi presto
IV. Finale. Allegro appassionato
I. Allegro con brio
II. Adagio
III. Tema: "Pria ch'io l'impegno". Allegretto
IV. Finale. Allegro
Tema. Allegretto
Variation I
Variation II
Variation III
Variation IV
Variation V
Variation VI
Variation VII
Variation VIII
Variation IX
Variation X
Allegretto
Trio for Piano, Violin and Violoncello in D Major, Op. 70, No. 1 "Ghost": I. Allegro vivace e con brio
II. Largo assai ed espressivo
III. Presto
Trio for Piano, Violin and Violoncello in E-flat Major, Op. 70, No. 2: I. Poco sostenuto - Allegro ma non troppo
II. Allegretto
III. Allegretto ma non troppo
Introduzione. Adagio assai
Tema. Allegretto
Variation I
Variation II
Variation III
I. Allegro con brio
II. Scherzo - Allegro molto - Trio - Meno Allegro
III. Adagio
IV. Finale - Allegro
Trio for Violin, Violoncello and Piano No. 2 in C Major, Op. 87: I. Allegro
II. Andante con moto
III. Scherzo. Presto - Poco meno presto
IV. Finale. Allegro giocoso
Trio for Violin, Violoncello and Piano No. 3 in C minor, Op. 101: I. Allegro energico
II. Presto non assai
III. Andante grazioso
IV. Allegro molto
I. Allegro moderato
II. Scherzo. Allegro ma non troppo
III. Rondo. Allegretto
IV. Finale. Presto
Variation I
Variation II
Variation III
Variation IV
Variation V
Variation VI
Variation VII
Variation VIII
Variation IX
Variation X
Variation XI
Variation XII
Variation XIII
Variation XIV
Andante
Trio for Piano, Violin and Violoncello in E-flat Major, Op. 1, No. 1: I. Allegro
II. Adagio cantabile
III. Scherzo. Allegro assai
IV. Finale. Presto
Trio for Piano, Violin and Violoncello in G Major, Op. 1, No. 2: I. Adagio - Allegro vivace
II. Largo con espressione
III. Scherzo. Allegro
Tema. Andante
Variation I
Variation II
Variation III
Variation IV
I. Allegro moderato
II. Andante un poco mosso
III. Scherzo: Allegro
IV. Rondo: Allegro vivace
Quartet for Violin, Viola, Violoncello and Piano No. 2 in E-flat Major, K. 493: I. Allegro
II. Larghetto
III. Allegretto
Trio for Violin, Violoncello and Piano No. 20 in E-flat Major, Hob.XV:10: I. Allegro moderato
II. Presto assai
I. Allegro
II. Andante con moto
I. Allegro
II. Larghetto
Concerto No. 5 in A Major for Violin and Orchestra, K. 219 {"Turkish": I. Allegro aperto
II. Adagio
III. Rondeau. Tempo di Menuetto
I. Allegro moderato
II. Scherzo. Allegro
III. Andante cantabile ma pero con moto
IV. Allegro moderato - Presto
Trio No. 4 in B-flat Major for Piano, Violin and Cello, Op. 11: I. Allegro con brio
II. Adagio
III. Tema con variazione. Allegretto
I. Allegro moderato
II. Andante un poco mosso
III. Scherzo. Allegro
IV. Rondo. Allegro vivace
Trio No. 2 in G Major for Piano, Violin and Cello, Op. 1, No. 2: I. Adagio - Allegro vivace
II. Largo con espressione
III. Scherzo. Allegro
IV. Finale. Presto
I. Allegro
II. Adagio cantabile
III. Scherzo (Allegro assai); Trio
IV. Finale
Variations on Wenzel Müller's "Ich bin der Schneider Kakadu" for Piano, Violin and Cello, Op. 121a in G Major: Introduzione. Adagio assai
Tema. Allegretto
Variation I
Variation II
Variation III
Variation IV
Variation V
Variation VI
Variation VII
Variation VIII
Variation IX
Variation X
Allegretto
Trio for Piano, Violin & Cello in E-Flat Major, WoO 38: I. Allegro moderato
II. Scherzo: Allegro ma non troppo
III. Allegretto
Trio for Piano, Violin & Cello in G Major, Op. 1, No. 2: I. Adagio; Allegro vivace
II. Largo con espressione
III. Scherzo: Allegro
I. Poco sostenuto; Allegro ma non troppo
Introduzione. Adagio assai
Tema. Allegretto
Variation I
Variation II
Trio for Piano, Violin and Cello in D Major, Op. 70, No. 1 "Ghost": I. Allegro vivace e con brio
II. Largo assai ed espressivo
III. Presto
Trio for Piano, Violin and Cello in E-flat Major, Op. 70, No. 2: I. Poco sostenuto; Allegro ma non troppo
II. Allegretto
III. Allegretto ma non troppo
IV. Finale Allegro
Tema
Variation I
Variation II
Variation III
Variation IV
Variation V
Variation VI
Variation VII
Variation VIII
Variation IX
I. Allegro moderato
II. Scherzo: Allegro ma non troppo
III. Allegretto
Variation XIII
Variation XIV
Andante
Trio for Piano, Violin and Cello in B-flat Major, Op. 11: I. Allegro con brio
II. Adagio
III. Tema: "Pria ch'io l'impegno". Allegretto
Trio for Piano, Violin and Cello in B-flat Major, Op. 97, "Archduke": I. Allegro moderato
II. Scherzo. Allegro
III. Andante cantabile ma perň con moto
IV. Allegro moderato; Presto
Trio for Violin, Violoncello and Piano No. 20 in E-flat Major, Hob.XV:10: I. Allegro moderato
II. Presto assai


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