MARC ANDREAE VOLKMAR ANDREAE

Leopold Trio, Paragon Ensemble, Scottish Ensemble, clarinetist Andrew Marriner, cellist
Franz Helmerson, singers Roderick Williams and Mark Padmore and composer Mauricio
Kagel.
Some concert highlights include concertos at the St. Endellion Festival with Richard
Hickox and at the Scottish Proms with the RSNO, Wigmore Hall concerts with cellists
Wolfgang Schmidt and Tim Gill, a recital tour of S.Africa with Naomi Boole-Masterson,
and performances at the Sangat music festival in India, at the Langvad festival in Denmark
and at the Cheltenham and Leamington-Spa festivals in the UK. In June 2009 Fali gave
the world premiere of “In Memoriam”, a powerful new piece for piano and percussion
by the Serbian-American composer Vera Stanojevic. This led to an invitation to perform
in the USA at the the 2013 Society of Composers, Incorporated, National Conference in
Columbus, Ohio.
He has recorded two critically acclaimed discs with the cellist Timothy Gill on the Guild label, including world
premieres of works by the Indian composer, John Mayer (“Prabhanda” and “Calcutta Nagar”). In 2009 he recorded another
world premiere, the song cycle “Black Sea” by the British composer Anthony Bolton, with the tenor Richard Edgar-Wilson.
With the cellist Robert Irvine, he has recorded a newly commissioned sonata for cello and piano by Giles Swayne. His CD
featuring the music of the Swiss composer Volkmar Andreae was awarded the coveted “IRR Outstanding” accolade by the
International Record Review. His latest recording will feature a new sonata for cello and piano by the Scottish composer,
William Sweeney. Radio broadcasts include regular appearances on BBC Radio 3, where he has played some unusual and
challenging repertoire including the Sinding Piano Quintet with the Vertavo Quartet and Alexander Goehr’s “Das Gesetz der
Quadrille” with the baritone, Roderick Williams. He has recorded for All-India Radio with Mstislav Rostropovich and for
CBC (the North-American premiere of “La Trahison Orale” by Mauricio Kagel).
A committed and sought-after teacher with many international prize-winning students, Fali Pavri is a Professor of
the Royal Conservatoire of Scotland. He has given masterclasses in many countries around the world including recently in
Estonia, Finland, Lithuania, Cyprus, India and South Africa, where he was also a jury member at the Unisa International
Piano Competition.
Fali Pavri ist ein ebenso vielseitiger wie vielbeschäftigter Solist, Kammermusiker und Lehrer. Seinen ersten Unterricht
nahm er in seinem Geburtsort Mumbai in Indien bei Shanti Seldon. Danach studierte er Klavier bei Professor Viktor
Merdschanow am Konservatorium in Moskau sowie bei Christopher Elton an der Royal Academy of Music in London.
Bereits als Student erhielt er von dem großen russischen Cellisten Mstislaw Rostropowitsch das Angebot, ihn bei einer
ausgedehnten Konzerttournee durch Indien auf dem Klavier zu begleiten. Es folgte sein Londoner Debut im Purcell Room
sowie eine Reihe von Konzerten in renommierten Häusern in der ganzen Welt. Er ist mit vielen bedeutenden Musikern
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Klavierkonzert in D (1898) (Concerto for Piano and Orchestra in D)
Mention of Andreae’s prowess as a concert pianist should cause us to consider that in 1897 or 1898 he
played Beethoven’s Emperor concerto as a soloist in Cologne (Köln) with the Gürzenich Orchestra, and it
was in the same city with the same orchestra that he was the soloist in the premiere of his slightly earlier
Piano Concerto in D, on July 7, 1898. This work is in three movements, played virtually attacca. It is
scored for a somewhat similar orchestra to the Konzertstück, but without trombones, and is dedicated to
another of his professors at the Cologne Conservatoire, Victor Staub, whose son, Francis Xavier, was to
settle in England as a music teacher in Newcastle.
Although we know the date of that first performance, we are uncertain as to which version of the
first movement was actually played on that occasion, for the orchestral parts have an additional 209 bars,
which are absent from the full score, which suggest that following the premiere (described as being ‘in
one movement’ – although the attacca indications might have been misleading here) the first movement
was revised.
In whatever form the Concerto was first given, it remains a remarkable achievement for the teenaged
Andreae; Brahmsian, certainly, in language and general demeanour, it offers none of the meretricious
elements which tend to disfigure ‘virtuoso’ piano concertos of the period, and impresses us by the sheer
depth of musical interest it menifestly possesses; the ‘running together’ of the three movements is a
particularly notable feature, carried off with considerable assurance and convincing artistry.
Konzertstück in b-Moll für Klavier und Orchester (1900)
(Concert Piece in B minor for piano and orchestra)
In one movement, and playing for a little over a quarter of an hour, this impressive work is certainly an
excellent example of the genre and of its time. It is scored for a standard orchestra (2,2,2,2-4,2,3,0-timpstrings).
Some may consider that the orchestral strength asked for is rather small for 1900, yet the
variety of the work in terms of tempo is clearly one of its more intruging characteristics, although the
underlying pulse is clearly fast. It may be that such works as Richard Strauss’s Burleske of 1886 (a work
that only became known in the 1890s), Tchaikovsky’s Concert Fantasy Opus 56 of 1884 and César Franck’s
Variations Symphonique of 1885 had influenced Andreae, but one should remember that in 1898 Andreae
had written his own Concerto, and on this record we can identify those characteristics which are common
to both of these works. The Konzertstück was premiered in Vienna on June 11, 1900 with Andreae himself
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