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The Second USF-‐PAMA-‐The Music Gallery Piano Pedagogy Symposium “Touch and Tone in Mindful Pianists”
Ticket sale two weeks in advance at www.arts.usf.edu
The Artist
The Second USF-‐PAMA-‐The Music Gallery “Free to Play” Piano Pedagogy Symposium is pleased to present internationally acclaimed pianists-‐pedagogue Leonidas Lipovetsky in an all-‐Beethoven Piano Sonata Concert. The audience will have a rare opportunity to hear and watch the masterful art of mind and body in the performance of four Sonatas by Ludwig Van Beethoven: Op.13, Op. 53, Op. 57 and Op.111.
“PRE-‐SYMPOSIUM CONCERT” ALL BEETHOVEN PROGRAM
PIANIST LEONIDAS LIPOVETSKY
Thursday, October 15, 2015 7:30 PM
USF Concert Hall
SONATA No.8, in C minor, Op.13 (PATHETIQUE) Grave -‐ Allegro di molto e con brio
Adagio cantabile Rondo-‐Allegro
SONATA No.21, in C Major, Op.53 (WALDSTEIN)
Allegro con brio Introduzione-‐Adagio molto Rondo-‐Allegro moderato
-‐Intermission-‐
SONATA No.23, in F minor, Op.57
(APPASSIONATA) Allegro assai
Andante con moto Allegro ma non troppo
SONATA No. 32, in C minor, Op.111 (LAST
SONATA) Maestoso-‐Allegro con brio ed appassionato ARIETTA-‐Adagio molto semplice e cantabile
Variations 1 to 4 and Coda
LEONIDAS LIPOVETSKY, born in Montevideo, Uruguay, has been critically acclaimed by the international press since his recital debut at age 12. His New York orchestral debut with the National Orchestral Association at Carnegie Hall was followed by prestigious orchestral and recital series appearances, including the
The Second USF-‐PAMA-‐The Music Gallery Piano Pedagogy Symposium “Touch and Tone in Mindful Pianists”
Ticket sale two weeks in advance at www.arts.usf.edu
Metropolitan Museum of Art, and the United Nations Assembly Hall.
A Martha Baird Rockefeller Fund for Music, Inc. grant launched his first European tour, which was followed by recitals and orchestral appearances across Western Europe, Russia and Latin America. He has toured with the Czech Philharmonic Janacek and the English Chamber Orchestra. Also he has presented masterclasses at the Trinity College of Music in London, at the Juilliard School, and in Moscow, Russia, and Mexico. Mr. Lipovetsky studied piano with Wilhelm Kolischer in Montevideo and with Rosina Lhevinne at the Juilliard School, where he earned his BM and MS and was the first recipient of the Van Cliburn Scholarship and the Pan American Union Scholarship. Professor Lipovetsky’s career spans 5 decades as a performer-‐pedagogue as Associate Professor of Piano at Florida State University and master teacher around the world.
His performances were acclaimed as follows;
"He played the Prokofieff Third Piano Concerto in the modern, streamlined manner in which
superbly controlled dash takes precedence over soulful detail. One marvelled at his mechanical perfection and he earned bravos from the
responsive audience." Theodore Stongin, The New York Times, New York City
"He is full of the excitement that any such gifted young man always finds in exploring the great literature of his instrument. He understands
both the instrument and a great deal about the literature. He makes a beautiful sound on the piano and his fingers know few problems." Paul
Hume, The Washington Post
"He combines in his playing the warmth and passionate eloquence of a latin with the agile, confident and brilliant technique which is the hallmark of a great pianist. Through his tense
but moving style he showed to be an interpreter of more-‐than-‐usual self-‐control. His
interpretations were lively, communicative and essentially truthful. His recital was crowned by a
great ovation." Xavier Montsalvatge, La Vanguardia Espanola, Barcelona, Spain
"Magnificent technique, rich aesthetic conception, truly surprising maturity. Made a
distinct statement on the endowments required of a soloist, lavishly overflowing, yet held at bay
by the symphonic framework ..." Augusto Valera, Noticiero Universal, Barcelona, Spain
"Everything about his performance had a nice balance. He has grand style and big-‐league
technique, but has tempered its flashiness and exuberance with the patience and control he
needs to see him through slow movements, and the sense of rhythmic timing to allow the music
to breath and move with inevitability. His program balanced virtuoso extroversion with
contemplative quietness, utter seriousness with light humor, and throughout, his approach was musical." Joan Reinthaler, The Washington Post