Composer

Contents: Biography

Curriculum Vitae

Press

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Margarita Zelenaia – Biography Ms. Zelenaia is a Russian-born composer and performing pianist. Versatile in genre, her music defies stylistic boundaries and ranges from operatic and chamber works, to musical theater and art songs. Without prejudices and stereotypes, Zelenaia possess a rare ability to infuse her music with humor and lyrical tenderness, while also producing works of tremendous depth and seriousness. Casting aside the stereotypical mold of a "contemporary" composer, Zelenaia is a strong believer in melody and direct audience communication. Zelenaia began her piano and composition studies at an early age and by the age of 12 hosted her own musical TV program that was broadcast internationally. She graduated as a composer, musicologist and pianist from the Moscow Conservatory State Musical College, where she received a scholarship from the distinguished Professor of piano Yakov Milstein. Then, she was a recipient of the prestigious State Scholarship at the State Musical Institute named by Gnessin (Moscow), and graduated with honors. She studied composition with the legendary Professor Genrich Litinsky, the former teacher of Aram Khachaturian. Zelenaia became one of the youngest members ever inducted to the prestigious Union of the Composers of the USSR. Her works have been performed at Isaac Stern Auditorium, Carnegie Hall and Lincoln Center; Chicago Cultural Center and the Grace Rainey Rogers Auditorium at the Metropolitan Museum of Art; Peter Norton Symphony Space; Seoul Opera House in South Korea and Moscow Academic Music Children’s Theater in Russia; Auditorium Pollini in Italy and Derby Chamber Music Society in UK; Rachmaninoff’s Concert Hall and Concert Hall named by S. S Prokofiev in Russia; at the Kumming University, Yunnan, China and at the Magnificat Institute in Jerusalem, Israel; at Michigan Festival of Sacred Music and at the Tutti Festival of Contemporary Music; at the American Composers Alliance Festival and at the Summit Music Festival; at the New Music North Festival in Canada and Moscow Autumn Music Festival in Russia.

Margarita Zelenaia – Biography Margarita Zelenaia’s works have had the world premieres by the musicians of the New York Philharmonic, the chamber orchestras: the "Bacchanalia”, the “North/South Consonance” (US), “I Solisti Veneti” (Italy), “The Seasons” and the “Classics” (Russia); by the chamber music groups: “One World Symphony Singers & Ensemble”, the “Second Instrumental Unit”, ISSA Sonus Ensemble, neoLIT Ensemble, the “Damocles Trio”; by the renowned soloists such as concert pianists Ana Maria Bottazzi, Max Lifchitz, Adam Kent (US), Paolo Vergari (Italy),Yuri Polubelov (Russia); concert cellists Andrey Tchekmazov, Jacob Braun (US), Christophor Miroshnikov (Russia); countertenor Andrey Nemzer (Russia), bass Mikhail Svetlov (US), soprano Irina Rindzuner, (US), baritone Kreshnik Zhabjaku (Albania); concert violinists Anna Rabinova, Jasmine Lin, (US), award-winning clarinetist Sean Rice (US) and percussionist Dmitri Scholkin (Russia), among others. She is currently living in Fort Lee, NJ, where she is an active composer and a sought-after educator.

Margarita Zelenaia – Curriculum Vitae

Recent Commissions and Premieres Fantasy on Rimsky-Korsakov’s Scheherazade” for Four Pianos

World Premiere: Anne and Howard Gottlieb Hall of the Merit School of Music (Chicago, IL) 2015.Commissioned and premiered by the “Pianissimo!”

Summer from the Seasons, concerto for Four Pianos

World Premiere: Anne and Howard Gottlieb Hall of the Merit School of Music (Chicago, IL) 2015.Commissioned and premiered by the “Pianissimo!”

Foxtrot/An Orchestra Rehearsal for string orchestra

World Premiere: The Christ and St. Stephen’s Church, New York, USA, 2015. Performers: the North/South Chamber Orchestra with Max Lifchitz, conductor.

I Believe, a Prayer for violin solo and string orchestra World Premiere: Concert Hall named by Sergey Prokofiev, Chelyabinsk, Russia, 2014. Performers: Tatiana Galkina, violin, «Classic», chamber orchestra under the direction of Maestro Adik Abdurakhmanov.

At the Time Line, for percussions and piano

World Premiere: Rachmaninoff’s Concert Hall, Moscow, 2014 Commissioned and performed by Dmitry Scholkin & Yuri Polubelov.

Double Variations based on Mussorgsky for piano solo

World Premiere: Summit Music Festival, Purchase, NY, 2014. Performed by Margarita Zelenaia.

Mussorgsky and Beyond, double variations for piano solo World Premiere: The Christ and St. Stephen Church, NYC, USA,

2013. Performed by Max Lifchitz.

Margarita Zelenaia – Curriculum Vitae

Lamentation, monologue for violin solo and string orchestra

World Premiere: Auditorium Pollini, Padova, Italy, 2012. Performed by Lucio Degani, Violin, and “I Solisti Veneti” chamber orchestra with maestro Claudio Scimone as a conductor.

Asian Premiere: Concert Hall of the Kyrgyz National Philharmonics named by T. Satylganov, Bishkek, Kyrgyzstan, 2013. Performers: Talant Moldokanov, violin and The State Academic Symphony Orchestra under the direction of Maestro Rakhatbeck Osmonaliev.

Russian Premiere: Concert Hall named by S. S Prokofiev, Chelyabinsk, Russia, 2013. Performers: Olga Smolenskaya, violin, «Classic», chamber orchestra under the direction of Maestro Adik Abdurakhmanov.

American Premiere: The Christ and St. Stephen’s Church, New York, USA, 2014. Performers: Claudia Schaer, violin, the North/South Chamber Orchestra with Max Lifchitz, conductor.

The Agony in the Garden (based on El Greco), for viola and piano World Premiere: Derby Chamber Music Society, Derby, UK & Keele Concerts Society, Newcastle, Staffordshire, UK, 2011. Commissioned and performed by award-winning violist Eniko Magyar and pianist Timothy End.

The Lion that Could not Roar, music fairy-tale for narrator, piano trio and

clarinet. World Premiere: JCC in Manhattan, NYC, USA, 2010. Performed by Robert Sherman, the “Damocles Trio”, and Pavel Vinnitsky, clarinet.

Following performances: Manhattanville College, Purchase, New York, at the Summit Music Festival, USA, 2011. Performed by its faculty members: Julian Milkis, clarinet, Adam Kent, piano, Elena Peres, violin, Eugene Briskin, cello, with Mr. Sherman as a narrator. Also: as part of the “Kindred Spirits Arts Programs” in Milford, PA, USA, 2011. Performed by neoLit Music ensemble and Robert Sherman, the narrator.

Margarita Zelenaia – Curriculum Vitae

Impromptu Mobile, for piano solo World Premiere: St. Stephen Church, NYC, USA, 2010. Performed

by Max Lifchitz.

Byzantine Chants, sacred Concerto for a solo cello World Premiere and following performances: Our Savior’s Atonement Church, NYC, USA; St. Peter’s Church, NYC, USA; Summit Music Festival, Purchase, USA, 2009. Commissioned and performed by award-winning cellist Andrey Tchekmazov. Also: Dalton Center Recital Hall of Western Michigan University at Michigan Festival of Sacred Music, Kalamazoo, MI, USA, 2011. Performed by Elizabeth Start. The “Psalmodia” (an excerpt from the “Byzantine Chants”) was part of the ‘Music between East and West: Continuity and Change’ concert event at the Metropolitan Museum of Art, presented in conjunction with the exhibition ‘Byzantium and Islam: Age of Transition’. Performed by Clive Greensmith, a cellist from the ‘Tokyo String quartet’ at The Grace Rainey Rogers Auditorium, 2012. Excerpts from the “Byzantine Chants”: St. Peter’s Church, New York, USA, 2014. Performed by Andrey Tchekmazov.

Homage II, suite for violin and cello

World Premiere: Chicago Cultural Center, “Chicago Chamber Musicians’ First Monday concert series”, Chicago, USA, 2009. Commissioned and performed by Jasmine Lin, violin, and Jacob Braun, cello. Following performances: Peter Norton Symphony Space’s Leonard Nimoy Thalia, NYC, USA, 2010, and also as part of the MOSA Concert series, at Our Savior’s Atonement Lutheran Church, NYC, USA, 2011. Performed by Emily Ondracek and Aminda Asher, the members of the at ISSA Sonus ensemble.

Margarita Zelenaia – Curriculum Vitae

Choreography of the ‘Vocalize’ (Homage II to Rachmaninoff), the 1st movement of the “Homage II” the UNBOUND, the Living Arts New Music Festival, Tulsa, OK, USA, 2013. The original contemporary dance choreography by Alicia Chesser and the Tulsa Modern Movement Dancers – also with live Photography by Nathan Harmon.

August. Sunset Bloom, string quartet

World Premiere: Merkin Concert Hall, “Philharmonic Ensemble at Merkin concert Hall” series NYC, USA, 2008. Commissioned by the New York Philharmonic violinist Anna Rabinova and performed by the musicians from the New York Philharmonic.

I Believe, poem for solo violin, alto saxophone, piano and string orchestra

World Premiere: Merkin Concert Hall, NYC, USA, 2008. Commissioned for a special anniversary concert “Twenty Years After” by Nina Beilina, violinist and artistic director of Bachanalia chamber group.

Homage I, suite for violin and clarinet

World Premiere: at the Symphony Space, at the American Composers Alliance Festival, NYC, USA, 2004, performed by David Fulmer, violin, and Sarah Beaty, clarinet.

Pantomimes, suite for solo piano,

World Premiere: the first movement of the suite was premiered by Ana Maria Bottazzi at the Isaac Stern Auditorium, Carnegie Hall, 2001.

Italian Premiere: The complete suite was played by Paolo Vergari at the Teatra Ghione, Rome, Italy, 2004. Asian Premiere: at the Kumming University, Yunnan, China, 2005. Performed by Paolo Vergari. Israeli Premiere: at the Magnificat Institute, Jerusalem, Israel, 2005. Performed by Paolo Vergari.

Margarita Zelenaia – Curriculum Vitae Canadian Premiere: at the New Music North Festival in Canada, 2004. Performed by Deanna Oye.

Selected Performance Venues of Original Works US Venues Chicago Cultural Center, IL Columbus, Ohio International Venues Seoul Opera House, Seoul, South Korea Tokyo Bunka Kaikan, Tokyo, Japan Chamber Hall, Moscow Conservatory, Moscow, Russia Moscow Philharmonic Hall, Moscow, Russia Moscow Academic Music Children’s Theater, Moscow, Russia Chamber Hall, Museum by M. I. Glinka, Moscow, Russia Derby Chamber Music Society, Derby, UK Keele Concerts Society, Newcastle, Staffordshire, UK New York Metropolitan Museum of Art Isaac Stern Auditorium, Carnegie Hall Merkin Concert Hall Kaplan Penthouse, Lincoln Center Bruno Walter Auditorium, Lincoln Center Symphony Space Koschuzko Foundation Music Festivals Summit Music Festival, USA Michigan Sacred Music Festival Tutti Festival of Contemporary Music, USA American Composers Alliance Festival, USA Moscow Autumn Music Festival, Russia Moscow Spring Music Festival, Russia

Margarita Zelenaia – Curriculum Vitae New Music North Festival, Canada Grants

American Composers Forum “Encore” Grant, 2007 Lower Manhattan Cultural Council Grant, 2009 Northern Manhattan Arts Alliance (NoMAA) Grant, 2009

Commissions: Pianissimo!, a piano quartet, Fantasy on Rimsky-Korsakov’s Scheherazade” for Four Pianos, 2015

Pianissimo!, a piano quartet, Summer from the Seasons, concerto for Four Pianos, 2015

Dmitri Scholkin, a percussionist, & Yuri Polubelov, a pianist, At the Time’s Line for percussion and piano, 2013. Eniko Magyar, a violist, Agony in the Garden (based on the El Greco’s

painting), 2011 Andrey Tchekmazov, cello, Byzantine Chants, 2009 One World Symphony Singers & Ensemble, Sung Jin Hong, artistic director, Homage, 2005

Nina Assimacopoulos, Pan’s Pastoral for a Shepherd, Bowling Green, OH, 2003

One World Symphony Singers & Ensemble, Sung Jin Hong, artistic director, Mother’s Lamentation, 2001

The Seasons, Moscow chamber orchestra, Vladislav Bulakhov, conductor & artistic director, Waltz-Metamorphoses, Moscow, Russia, 1997 The Seasons, Moscow chamber orchestra, Vladislav Bulakhov, conductor & artistic director, Suite in Stylistic Dances, Moscow, Russia, 1997 Moscow State Academic Music Children’s Theater, Thum Thumb,

Moscow, Russia, 1995 Moscow Youth Theater, Ronny and Beerk, Moscow, Russia, 1988 Moscow State Academic Music Children’s Theater, Winnie-the-Pooh Once

Again, Moscow, Russia, 1985

Margarita Zelenaia – Curriculum Vitae

Education

Gnessin State Music Pedagogic Institute, Moscow, Russia Master of Music in composition, with academic honors and distinction, 1979 Composition studies with Heinrich Litinsky

Music College under the Moscow Conservatory Bachelor of Music in composition, 1973

Composition studies with Konstantin Batashev

Professional Affiliations New York Women Composers, NYC, NY, 1999 to the present American Music Center, NYC, NY, 1999 to the present ASCAP, NYC, NY, 1999 to the present Russian Federation Union of Composers, 1981 to the present

List of Compositions Chamber Works Fantasy on Rimsky-Korsakov’s Scheherazade” for Four Pianos, 2015

Summer from the Seasons, concerto for Four Pianos, 2015 At the Time Line, for drums and piano, 2014

Double Variations based on Mussorgsky, for piano solo, 2012 Mussorgsky and Beyond, double variations for piano solo, 2012

The Agony in the Garden (based on El Greco), for viola and piano, 2011 Impromptu Mobile, for piano solo, 2010 The Lion that Could not Roar, music fairy-tale for narrator, piano trio and

clarinet, 2009 Byzantine Chants, sacred Concerto for a solo cello, 2008 August. Sunset Bloom, string quartet, 2008

Tribute to Romanticism, for soprano, cello and piano, 2006

Margarita Zelenaia – Curriculum Vitae

Music Stories based on Chekhov, for baritone and chamber ensemble: flute, oboe, bassoon, French horn, 2 violins, 2005 Homage, vocal cycle, for soprano and cello, 2004 Piano Duo, suite for 2 piano, 2003 Duo, for cello and piano, 2003 Mother’s Lamentation, vocal monologue for mezzo-soprano and string orchestra, 2001 64 & ½, for piano trio, 2000 Trio for soprano, oboe and piano, 2000 Waltz-Metamorphoses, for string orchestra, 1997

Suite in Stylistic Dances, suite for string orchestra or violin and piano, 1997 Oh, There Was Such a Life, for soprano and piano (set to the poetry of Fyodor Tyutchev), 1997 Poem of Ending, vocal poem for soprano and piano (set to the poetry of Marina Tsvetaeva), 1994 Five Art Songs, vocal cycle for soprano and piano (set to the poetry of Marina Tsvetaeva), 1994

Six Servants, vocal cycle for baritone and piano (set to the poetry of English poets of the XIX century), 1991

Operatic Works, Musicals

Caligula, operatic scenes,

for soprano, mezzo-soprano, bass, baritone, tenor, choir, and orchestra, 1995 Thum Thumb, solo opera for children, 1995 for mezzo-soprano and piano Winnie-the-Pooh Once Again, comic opera for children in two acts, 1985 for soprano, mezzo-soprano, tenor, baritone, bass, and chamber orchestra Adventures of Alice in Wonderland, musical in two acts, 1989 for soprano, alto, tenor, baritone, and chamber orchestra

Margarita Zelenaia – Curriculum Vitae Ronny and Beerk, musical drama in two acts, 1988

for treble voice, soprano, alto, tenor, baritone, bass-baritone, electric guitar, bass guitar and chamber orchestra

Concertos

Piano Concerto, 1979 Works for Solo Instrument

Double Variations based on Mussorgsky for piano solo, 2014 Mussorgsky and Beyond, double variations for piano solo, 2013 Byzantine Chants, sacred Concerto for a Solo Cello, 2009

Suite Blue, solo piano suite, 2005 Pan’s Pastoral for a Shepherd, for flute solo, 2003 Solitude, suite for flute solo, 2003 Pantomimes, suite for solo piano, (2000) Musical Sketches in Modes for piano solo, 1993

Collaborative Works

Incidental music for the Russian New York, documentary, 2013 Incidental music for the Demon, for drama actor, soprano, cello and

piano, 2005 Record Releases

Euterpe Records, USA: Arcadian Murmurs, Pan in pieces, volume I, Pan’s Pastoral for a Shepherd, 2003 Melodia Records, Russia: Adventures of Alice in Wonderland, excerpts,

1991

Margarita Zelenaia – Curriculum Vitae TV and radio broadcasts

Music of our Mothers radio show, on-air host Ellen Grolman, showcased the Byzantine Chants,

WFCF, Flagler College Radio, 88.5 FM in St. Augustine, FL., USA, 2015 ‘Persona Grata” TV show, NTV America, host and producer Michael

Gusev, an interview, Fort Lee, NJ, USA, 2012. Classical Discoveries radio show, host and producer Marvin Rosen,

showcased the “Six Servants”, vocal cycle, Princeton, NJ, USA, 2010 WFMT Chicago, live broadcast of the “Chicago Chamber Musicians’

First Monday concert series”, Homage II, Chicago, IL, USA, 2009 Sirius159 XM 117, Catholic Channel, one hour program radio show

Sounds from the Spires, host Dr. Jennifer Pascual (director of music of St. Patrick Cathedral), Byzantine Chants, Yonkers, NY, USA, 2015 & 2009.

The Arts in Westchester, Pleasantville PCTV, 60’ program completely dedicated to the Byzantine Chants, Pleasantville, NY, USA, 2009.

The Arts in Westchester, Pleasantville PCTV, 30’ program completely dedicated to the Homage I, Pleasantville, NY, USA, 2008.

RTVI, Russian-language television network in USA, the Mother’s Lamentation live broadcast, NYC, 2001

RTVI, Russian-language television network in USA, numerous broadcasts dedicated to the vocal and instrumental works, NYC, 1997-8-9

ORT, First TV Channel of the Russian National TV, TV production, Adventures of Alice in Wonderland, Moscow, Russia, 1989.

Margarita Zelenaia – Press

Anne and Howard Gottlieb Hall of the Merit School of Music (Chicago, IL) “An International Feast of Music" Chicago Classical Review By Gerald Fisher Pianissimo! offers a mixed bag of multiple-piano music The clear highlight of the program was another world premiere, Zelenaia’s Fantasy for Four Pianos on Rimsky-Korsakov’s “Scheherazade”. This is not so much an arrangement as an original work, a fantasy on themes from the popular orchestral work. The piece progresses dramatically, and the idiomatic arrangement concludes with a nod to Russian Romanticism. Merkin Concert Hall New York Philharmonic Ensembles Program notes, a world premiere of the ‘August. Sunset Bloom’, string quartet. By the New York Philharmonic Editors "... It was a recent series of experiences and observations in New York City's Fort Tryon Park that inspired Zelenaia to write the suite for string quartet that we hear today. August. Sunset Bloom reflects the composer's various and eye-opening impressions of both the powerful and the subtle forces of nature..." American Composers Alliance Festival Thalia Theater The New York Times By Steve Smith "... Margarita Zelenaia paid lyrical tribute to Rachmaninoff and Stravinsky in 'Homage' for violin and clarinet..." -------------------------------------------------------------------------------------------- Merkin Concert Hall “The Beginning. Celebrating Bachanalia’s 20th Season” Program notes on a world premiere of “I Believe”, Poem for Violin, Saxophone, Piano and string orchestra. by Emil Chudnovsky “…I Believe”, by Russian émigré composer Margarita Zelenaia, pays homage to the background she shares with Bachanalia’s Founder and Artistic director, Nina Beilina: both immigrated to the US from Russia. As Zelenaia writes, “I wanted to

Margarita Zelenaia – Press show through my music how much both of these countries, Russia and the US, mean to me and how my Jewish roots are so closely interwoven with both cultures”. “I Believe” incorporates and unites melodies of three different spiritual traditions: melodies from American gospel music (“We Are Climbin’ Jacob’s Ladder”), Russian religious music (a melodic excerpt from the “Liturgy Domestic” by Alexander Gretchaninoff) and Jewish prayer (“Shma, Israel)…” -------------------------------------------------------------------------------------------- New Music Connoisseur Magazine" New York Women Composers.' Nicholas Roerich Museum, NY, NY. by Eugene McBride "...The ability to compose humorous music is admirable. Margarita Zelenaia's Suite in Stylistic Dances shows her to have a sense of humor. This set: Waltz, Tango and Foxtrot are compositional dances rather than music for the dance. First begins the Waltz, humorous, jazzy too, with lots of piano artistry and virtuosity. The Tango begins with a contemplative, meandering mood... The Foxtrot is off to a good start, then shifts to a smarmy 1920's salon piece, then back to the foxy trot. The performers sang along with the piece which was startling and humorous..." Music Web International Hubert Culot "Russian-born Margarita Zelenaia’s Pan’s Pastoral for a Shepherd has a delightful, folk-like ring..." -------------------------------------------------------------------------------------------- "Arcadian Murmurs" Pan in pieces Vol.1 Euterpe Recordings Nina Assimakopoulos solo Flute CD Liner Notes: Bradley Wilber Pan's Pastoral for a Shepherd. Margarita Zelenaia "Pan's Pastoral for a Shepherd" captures a very simple, ancient melody - something within the color range and the rhythmic capabilities of Pan's instrument. Also something very improvisational, that Pan would have played himself, for one of his shepherds under a tree at twilight.... The repose in a way has a drama of its own, like one of Bartok's folk songs. Even though the piece represents Pan at his most beneficent, giving the gift of music, there is a

Margarita Zelenaia – Press glimpse of the self-impressed virtuoso here... He did challenge Apollo to a talent contest and beat him. There is so much going on in the piece - all pure enjoyment." -------------------------------------------------------------------------------------------- Carnegie Hall, Isaac Stern Auditorium Solo recital of Ana Maria Bottazzi, a concert pianist. Program notes by editors on a world premiere of the “Pierrot’s Dreams”: "... Ms. Zelenaia has consciously aligned herself with lightness and romanticism. In the manner of a playwright, she uses music in all her works to create unexpected turns of plot and a sense of intrigue. The idea of a composition, realized with a consistent inscrutability, is directly related to the theatrical nature of her thinking..." -------------------------------------------------------------------------------------------- MOSCOW NEWS "Winnie -The Pooh sings in opera" By Eugene Zarankin "... "...In Milne's story, Pooh is always humming and singing. A short time ago a musical Pooh Bear, as well as his friends, began singing at the Central Children's Musical Theatre, whose company provided children with the beautiful present of the opera "Winnie the Pooh Once Again" that was written by the composer Margarita Zelenaia. Director Nicolai Petrenko and designer Margarita Sokolova produced it as a colorful and exciting show. The music is successfully reflected Allen Milne's characters and full of humorous turns..." -------------------------------------------------------------------------------------------- Conductor’s impressions of “I Believe”, Prayer for Violin solo and string orchestra Brian Chatpo Koo, artistic director, Sydney Contemporary orchestra (Australia): “What a wonderful work! A masterpiece!”

Margarita Zelenaia – Press Laurine Celeste Fox, Music Director/Conductor at Symphony of the City of New York “I had the profound experience of listening to your “I Believe”. It’s a deeply moving work of art!” Artur Kaganovskiy, concert violinist: “I think ‘I Believe’ is the absolutely incredible work. Your compositional language is extremely beautiful.” Donald Maurice, violist/conductor, New Zealand: “This is an amazing piece of music, so emotionally charged, haunting at times, uplifting at others and holds the attention throughout.” Nan Washburn, Co-Founder and Artistic Director of the Michigan Philharmonic: “This piece is really beautiful.” Ann Krinitsky, a frequent guest conductor with the Honolulu Symphony: “Your music definitely reflects the power, passion and energy of the prayers.” David Bloom, co-artistic director, Contemporaneous: “I loved listening to ‘I Believe’ — beautiful piece!”

Margarita Zelenaia – Press

FULL PRESS ARTICLES 1) Pianissimo! offers a mixed bag of multiple-piano music Mon Sep 14, 2015

http://chicagoclassicalreview.com/2015/09/pianissimo-offers-a-mixed-bag-of-multiple-piano-music/ Pianissimo! performed Saturday night at the Merit School of Music. Each of the four charismatic piano virtuosi who make up the recently formed Chicago-based ensemble Pianissimo! is a highly successful performing artist in her own right. Their long and varied official Chicago debut at the Merit School of Music’s Gottlieb Hall Saturday demonstrated ample technique as well as musical integrity. The artists are Svetlana Belsky, Elena Doubovitskaya, Irina Feoktistova and Susan Merdinger. Their program reflected their goal of offering a combination of genres to a cross section of listeners, yet the result was a mixed bag musically. The evening began strongly with an arrangement of Beethoven’s Egmont Overture for four players on two pianos. The performance was muscular and dynamic and set the stage for the orchestral arrangements to come. A new four-piano arrangement by Russian-born composer Margarita Zelenaia of Vivaldi’s Summer from The Four Seasons emerged somewhat scrambled in the playing. The “storm” music of the concluding section, however, was invigorating and well-rendered. The rest of the first half of the program consisted of arrangements of works chosen for popular appeal by Gershwin, Chabrier and Tchaikovsky. Tchaikovsky’s Capriccio Italien for four pianos (arr. Amy Tan) received a sonorous if very rough and ready performance; Chabrier’s Espana tried to recreate the catchy orchestration pianistically; and the Gershwin Fantasy on The Man I Love was less jazz than pop with piano riffs. The second half of the evening proved more interesting with two contemporary works, two standout arrangements and a Broadway medley. James Stone’s Rip Current for Four Pianos is a short, splashy modernist work, heard in its world premiere. Ilya Levinson’s Fireball for Four Pianos features

Margarita Zelenaia – Press continually changing dynamics though it wasn’t always clear where the music was heading. The clear highlight of the program was another world premiere, Zelenaia’s Fantasy for Four Pianos on Rimsky-Korsakov’s “Scheherazade” This is not so much an arrangement as an original work, a fantasy on themes from the popular orchestral work. The piece progresses dramatically with some nice solo opportunities, and the idomatic arrangement concludes with a nod to Russian Romanticism. Some beautiful moments were provided by Lutoslawski’s two-piano version of his Variations on a Theme of Paganini. This was performed by Susan Merdinger and Irina Feoktistova and the lighter texture of the music, which wandered further and further from the main theme, allowed one to hear some sensational solo playing by the artists. The performers turned back to crossover appeal with a Broadway Medley by Ilya Levinson featuring themes from Kiss Me Kate, My Fair Lady, The Phantom of the Opera and others in strictly salon renderings. 2) The North/South Chamber Orchestra - Gentile, Maican, Zelenaia & Lifchitz - 01/12/14 http://www.classicalmusicrocks.net/2014/01/the-northsouth-chamber-orchestra.html As 2014 is slowly getting underway and winter is dragging on, I was in fact pretty happy not to have to go out in the evening this week as the city was grappling with the merciless "polar vortex". Today the temporary sub-zero temperatures, which were quickly followed by unusual warm weather and torrential rains, are already forgotten, and life is more or less back to normal, which essentially means some live music was scheduled to brighten up an otherwise still rather gloomy winter Sunday. This afternoon's contemporary chamber music concert actually constituted an exciting leap of faith as I was not familiar with The North/South Chamber Orchestra, the Christ & St Stephen's Church, the various composers or the program's works. But the venue is in my neighborhood and the concert was free, so why not go check out what was

Margarita Zelenaia – Press going on there in the company of my intrepid friend Ruth? Every time I go to a contemporary music performance and do not know the oeuvre of the composers on the program, I always brace myself, just in case. Today, however, this precaution turned out to be completely unnecessary as the music was filling up the understated, lovely little Episcopal church. The North/South Chamber Orchestra may be refreshingly casual in its look, but there was nothing even remotely nonchalant in their playing, and nothing off-putting in what they were playing either. The first piece, "Ho scritto una canzone" by Italian composer Ada Gentile, could not have been more welcoming, all pretty melodies and soothing mood, with a heart-on-your-sleeve lyricism that would have made Tchaikovsky proud. Then we moved on to the first-ever performance of "Sinfonietta", inspired by two Greek Orthodox prayers for children, was written especially for the orchestra by Tudor Dominik Maican, a former child prodigy from the Washington, DC area, who was born in Germany to Romanian parents. Besides being bombarded with prizes and commissions for the past few years, the 24-year-old is currently busy overseeing the rehearsals of his first opera in Romania, so he was not able to be with us to introduce this new work of his. We easily got into it nonetheless. The first movement's glowing strings beautifully described the unadulterated bliss found in heaven, and the second movement conjured up a highly rhythmical, care-free dance that ended on a triumphant chord. Nothing ground-breaking, but an engaging, solid crowd-pleaser. Russian composer Margarita Zelenaia, on the other hand, had made it to the concert and graciously introduced her "Lamentation", which was having its US premiere this afternoon, as being inspired by the aria "Dido's Lament" from Purcell's Dido and Aeneas, and which she had dedicated to the memory of Russian writer Chingiz Aiitmatov. That's when we switched from the generally uplifting mood of the first part of the concert to an on-going storm of urgency, turbulences, anguish, calm and instability. The solo violin was vibrantly played by Claudia Schaer while the cellos and bass added some unsettling dark shadows to the whole piece. The last number on the program, "Expressions", was by no other that The North/South Chamber Orchestra's founder and conductor, Mexican composer, conductor and pianist Max Lifchitz. The four movements succeeded one another fast and lean, four drastically distinct parts of a harmonious whole. It all started with the Expressivo's melodic power, continued with the Scherzo's

Margarita Zelenaia – Press jagged aggressiveness, went on with the Dramatico con calore's convoluted passion, and ended with the Dolce's newly found serenity. This concluded our short but delightful concert with a wide array of colorful sounds and heart-felt emotions, and helped us revive our spirits to finish off the weekend. 3) Derby Telegraph Derby Chamber Music By Mikey1111 |Posted: September 20, 2011 http://www.derbytelegraph.co.uk/Review-Derby-Chamber-Music/story-13366512-detail/story.html Hungarian violist Enikö Magyar's playing in Derby Chamber Music's first concert of the season combined sensitivity and incisiveness, and covered every point on the dynamic scale, from whisper to roar. Her rich, husky sound on the lower strings was particularly satisfying. Timothy End, fresh from competition success the week before, was her sympathetic partner. Schumann's Three Romances were given aptly-scaled, song-like readings, though No 2 was possibly a bit over-intense. DvoÅ™ák's Sonatina came across as just as fresh and lively as the original violin version. The second movement was taken very slowly, but both players succeeded in maintaining the music's flow. The rhythms in the third movement were a bit too clipped to sound ideally playful, but the finale was an energetic delight. Margarita Zelenaia, Russian-born but now living in the USA, was at the concert to introduce the world premiere of her Agony in the Garden. Based on the El Greco painting of that name, a reproduction of which was on display during the performance, it aimed to capture the sense of "vibration, mystery and energy" she spoke about feeling on first seeing the picture. The two players responded keenly to the music's wide dynamic and expressive scope – a compelling piece that left a profound impression. Their invigorating approach to Bartók's Romanian Dances ended on a suitable note of wild abandon. After the interval, Magyar's own transcriptions of seven Schumann songs made an effective group, with the eager warmth of 'Widmung' and the tenderness of 'Mondnacht' standing out.

Margarita Zelenaia – Press Magyar has made something of a speciality of Arthur Bliss's Viola Sonata. Both players caught the music's muscular energy in the first movement, brought a touching tranquillity to the end of the second, and unleashed a torrent of energy in the third. Just occasionally, throughout the evening, the piano threatened to over-balance the viola, but this was a stimulating launch for Derby Chamber Music's new season. 4) After Almost 80 Years, a Score Gets a Hearing By STEVE SMITH Published: June 9, 2008 http://www.nytimes.com/2008/06/09/arts/music/09comp.html In most of the concerts that the American Composers Alliance presented in its annual Festival of American Music, which concluded on Saturday night, the focus was on works by living composers, many of them not widely known. But the program it presented on Saturday afternoon in the Leonard Nimoy Thalia at Symphony Space included a ringer: “Cain,” a 1930 ballet by Marc Blitzstein, an early member of the alliance. A concise work in two acts, the ballet concerns the biblical story of Cain murdering Abel, then being killed by a descendant, Lamech. Blitzstein’s music is mildly dissonant and rhythmically vibrant, with passages of elegant counterpoint. In two sections the words of Jehovah are sternly voiced by a baritone, whose voice is meant to emanate from a loudspeaker behind the audience. According to the alliance’s Web site, Leopold Stokowski was to have conducted “Cain,” but the performance was abandoned because of Depression-era budget cuts. Blitzstein thought highly enough of it to create three versions of the score: the original for full orchestra, an unfinished chamber reduction and a complete score for piano and baritone, from which he performed excerpts on several occasions. This performance, by the pianist Michael Fennelly and the baritone Peter Clark, was said to be the work’s first complete performance. Mr. Fennelly played with flair and energy but seemed overtaxed by a few strenuous passages. Mr. Clark, though stylish and properly stentorian, was painfully loud, presumably from overamplification. Their work was respectable, but the music cried out for an orchestra, a worthy project for some hardy band of explorers.

Margarita Zelenaia – Press The rest of the concert was devoted to recent works by members of New York Women Composers Inc. The pianist Christopher Oldfather was authoritative in Elizabeth Bell’s “Night Music,” a stormy, tonally unmoored rumination. Beth Wiemann’s lovely “Erie, on the Periphery” had Benjamin Fingland, a clarinetist, playing melancholy lines overMarilyn Nonken’s chiming piano chords in a limpid reverie occasionally pricked by agitated outbursts. Of the remaining works, adeptly played by the Second Instrumental Unit from Queens College, the most

compelling was Margaret Fairlie-Kennedy’s “Summer Solstice,” an exotic sequence of soothing solos and primal outbursts. Margarita Zelenaia paid lyrical tribute to Rachmaninoff and Stravinsky in “Homage,” for violin and clarinet. Lisa Hogan’s “Music for Trumpet, Marimba and String Quartet” was filled with mellow, jazzy sounds, and the shimmering curls and flutters of Eleanor Aversa’s “Something Gleamed Like Electrum” lived up to the title. 5) The MusicWeb International Arcadian Murmurs Hubert Culot http://www.musicweb-international.com/classrev/2004/May04/arcadian.htm The subtitle ("Pan in Pieces") of this selection of works for solo flute fairly sums up the basic idea running throughout the recital: a varied collection of pieces evoking Pan, in one way or another. It appropriately opens with Debussy’s celebrated Syrinx followed by a very similar short work The Ecstatic Shepherd by the ‘English Debussy’, i.e. Cyril Scott. (Incidentally, Scott’s piece has been recorded by Kenneth Smith several years ago [ASV CD DCA 739].) Ary van Leeuwen was one of the foremost flute virtuosi of his time. He was hired by Mahler and went on to become principal flautist with the Cincinnati Symphony Orchestra under Sir Eugene Goossens. The challenge of his Pan’s Lament is, so we are told, to give linear coherence to a score that at first sight looks rather like a patchwork of fragmentary ideas. Poulenc’s Le joueur de flûte berce les ruines is a real novelty, though not one to greatly shatter our appreciation of his output. This tiny sketch was composed in 1942 probably as a gift to a friend (we are not told), was lost for many years and consequently never mentioned in any

Margarita Zelenaia – Press worklist. It surfaced as recently as 1997. The very detailed notes by Bradley Wilber accompanying this release mention that DeLaney’s lovely Hymn to Pan was inspired by Shelley’s eponymous poem. The French composer Roger Bourdin, trained and active as a flautist, is rather better-known for short idiomatic pieces for flute, of which Chanson de Pan and Pan blesse are – I think – good examples. These pieces may be fairly well-known by flautists, but less so by music lovers, so that their inclusion here is most welcome. All the pieces in the second half of the present recital are fairly recent, including several works written as recently as 2003. Need I say that all the composers, but one, were unknown to me? Benjamin Boone’s The Wood Nymph of Nonacris composed in 1989, Mark Hijleh’s Syrinx, Tooas well as Binnette Lipper’s Flute Flight are all overtly inspired by Debussy’s Syrinx, viewed – or, rather, heard – through slightly more modern techniques. They use more advanced playing techniques such as lip bend and Flatterzung, always tastefully and discretely so. Russian-born Margarita Zelenaia’s Pan’s Pastoral for a Shepherd has a delightful, folk-like ring à la Bartók. Pan(ic) by Gene Pritsker might call Birtwistle’s saxophone concerto to mind, but is nothing like as controversial as that piece. It nevertheless displays a good deal of energy and is again quite idiomatically written. David Golightly’s Three Pan Love Songs are also beautifully written, although they may be more complex, technically speaking, but nonetheless very attractive. This short triptych is not unlike Golightly’s much earlier, quite substantial work for solo clarinet Moods(1980), available on ASC CS CD2. Incidentally, at about 6 minutes, this is the longest work here. The young French composer Pierre Thilloy, whose name is also new to me, is represented here by yet another beautiful miniature Le Rêve de Pan. By the way, there a last track Woodland Sounds by Dave Sluberski which simply rounds this recital off with some recorded nature sounds. As already hinted at in the above, all the pieces in this recital are fairly short, and most of them are similar, in spirit and letter. I can imagine this selection being too much of a good thing for some tastes. If so, then, the best way to enjoy it is to hear it in bits, a few pieces at a time. However, there is enough variety in the composers’ approach to the Pan myth to avoid any monotony. Anyway, Nina Assimakopoulos plays beautifully throughout and her superb readings are beautifully recorded. This release as a whole is excessively well

Margarita Zelenaia – Press produced with detailed notes that tell you anything you want to know about the pieces and their composers. It is adorned with a beautiful, Pre-Raphaelite-looking photograph of Nina. The only reservation I have to express concerns the shamefully short playing time. But this small point apart, this is a most enjoyable recital.

Margarita Zelenaia – YouTube Links

‘I Believe’, Prayer for Violin solo and String orchestra https://www.youtube.com/watch?v=lJn-5AVMTVQ ‘My, She’, monologue (based on Chekhov) https://www.youtube.com/watch?v=Od0r141U-uc Byzantine Chants, sacred concerto for a Solo Cello https://www.youtube.com/watch?v=MJtj6cQnmrE Mussorgsky & Beyond, Double Variations based on Mussorgsky https://www.youtube.com/watch?v=fitkD22ySuc Vocalize (Homage to Rachmaninov) https://www.youtube.com/watch?v=7ngaD2cdpks Lamentation for Violin solo and string orchestra https://www.youtube.com/watch?v=L3IjifqMW-Q The Agony in the Garden, a poem for viola and piano https://www.youtube.com/watch?v=HZk5_mv4IwQ Art Songs with Kenneth Lawrence, tenor https://www.youtube.com/watch?v=Kk7D3jgLHHQ Art Songs with Andrey Nemzer, countertenor https://www.youtube.com/watch?v=VYq8W0axglc Fantasy on Rimsky-Korsakov’s ‘Scheherazade’ for Four Pianos https://www.youtube.com/watch?v=kghNs0eFFO4 Also, here are the links on my website: http://www.margaritazelenaia.com/music/video-gallery/ Artist Website: http://www.margaritazelenaia.com

Margarita Zelenaia – Photo Gallery