Leonard Rose

Biography

Born: July 27, 1918   Died: November 16, 1984  
Cellist Leonard Joseph Rose was a member of a Russian family who had immigrated to the U.S. from Kiev. His father was an amateur cellist who gave him his first lessons on the instrument. Rose's formal studies began after the family had moved to Florida, at the Miami Conservatory with Walter Grossmann. After that, he moved to New York to study with Frank Miller, principal cellist of the NBC Symphony Orchestra, who was his cousin. At the age of 16, Read more he won a scholarship to attend the Curtis Institute of Music in Philadelphia where his teacher was Felix Salmond. After two years of study, Rose became Salmond's assistant.

Rose is among those cellists whose career included a period of membership in an orchestra. Later, he would tell his students that this was the best way to gain experience. In Rose's case, he followed the path of his cousin by becoming a member of Toscanini's NBC Symphony Orchestra and by the age of 20 was principal cellist. After one season, he took a position with the Cleveland Orchestra, then conducted by Artur Rodzinski. In 1943, Rodzinski moved to New York, where he became the principal conductor of the New York Philharmonic. He brought Rose with him. Rose remained the leader of the orchestra's cellists through 1951. While with the Philharmonic, he made his debut playing the Lalo Cello Concerto in 1944. He also accepted a position teaching at the Juilliard School in 1947. Except for the years 1951 to 1962 when he taught at the Curtis Institute in Philadelphia, he was on the Juilliard faculty for the rest of his life.

Playing on a luscious-sounding Amati cello from 1662, Rose had a rich, flowing tone. His playing had a free, effortless sound, a free approach to rubato, and a resulting feeling of spontaneity. These were actually achieved by strenuous practice (four to five hours a day even on tour) and meticulous planning of all aspects of the performance. "I do not believe in receiving last-minute inspiration in public performance," he once said.

He developed a solid touring career, but he remained strongly devoted to teaching and developed into one of the most respected and successful cello teachers in America. Among his pupils were Yo-Yo Ma, Stephen Kates, and Lynn Harrell. Kates recalls that a student "generally speaking came out of a lesson feeling like a million dollars...he gave you confidence."

In his teaching, he favored positions and techniques that were natural. He disagreed with the school of thought that the cello bow could be held the way violinists held theirs, with the little finger on top of the bow. On the other hand, his approach to vibrato is directly taken from the technique of a violinist, Fritz Kreisler, in that the motion of the vibrato comes from the upper arm with the hand pivoting on the finger that is down on the string. He found the upper arm can move the most freely and allows vibrato of any width and speed.

Rose recorded for Columbia Records and among his great recordings are those of the Schumann Concerto with Bernstein accompanying and Bloch's Schelomo with Eugene Ormandy. He also formed a chamber trio, the Istomin-Stern-Rose-Trio, which made many fine recordings. Read less

Biography

Born: July 27, 1918   Died: November 16, 1984  
Cellist Leonard Joseph Rose was a member of a Russian family who had immigrated to the U.S. from Kiev. His father was an amateur cellist who gave him his first lessons on the instrument. Rose's formal studies began after the family had moved to Florida, at the Miami Conservatory with Walter Grossmann. After that, he moved to New York to study with Frank Miller, principal cellist of the NBC Symphony Orchestra, who was his cousin. At the age of 16, Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Allegro moderato
II. Andante un poco mosso
III. Scherzo: Allegro
IV. Rondo: Allegro vivace
Sonata No. 1 in G Major, BWV 1027: I. Adagio
II. Allegro ma non tanto
III. Andante
IV. Allegro moderato
Sonata No. 2 in D Major, BWV 1028: I. Adagio
II. Allegro
III. Andante
IV. Allegro
Sonata No. 3 in G minor, BWV 1029: I. Vivace
II. Adagio
III. Allegro
Allegro ma non troppo
Adagio
Scherzo: Presto
Allegretto
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
Cello Sonata No. 1 in E minor Op. 38: I. Allegro non troppo
Cello Sonata No. 1 in E minor Op. 38: II. Allegretto quasi Menuetto
Cello Sonata No. 1 in E minor Op. 38: III. Allegro
Cello Sonata No. 2 in F major Op. 99: I. Allegro vivace
Cello Sonata No. 2 in F major Op. 99: II. Adagio affettuoso
Cello Sonata No. 2 in F major Op. 99: III. Allegro passionato
Cello Sonata No. 2 in F major Op. 99: IV. Allegro molto
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. 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
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. 2 in D Major for Violin and Orchestra, K. 211: I. Allegro moderato
II. Andante
III. Rondeau. Allegro
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
II. Larghetto e spiritoso
III. Allegro
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 però 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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