ELLIOTT CARTER (b. 1908)PIANO SONATA [31.38]

1 Maestoso - Legato scorrevole [14.09]2 Andante - Misterioso – Allegro giusto - Andante [17.29]

MIKLÓS RÓZSA (1907-1995)PIANO SONATA [23.52]

3 Calmo - Allegro [8.26]4 Andante [7.46]5 Allegro giusto e vigoroso - Animato - Vivo - Più vivo - Vivacissimo [7.40]

EDWARD MacDOWELL (1860-1908)PIANO SONATA No. 4 in E minor (“Keltic”) [22.42]

6 With great power and dignity [9.50]7 With naïve tenderness [5.38]8 Very swift and fierce [7.14]

Total CD duration: [78.12]

PETER SEIVEWRIGHT piano

AMERICAN PIANO SONATAS

ELLIOTT CARTER (b.1908)PIANO SONATA

Little did I think, when I performed ElliottCarter’s Piano Sonata in the composer’spresence in St. Paul’s Hall, Huddersfield,England, during the 1983 HuddersfieldFestival of Contemporary Music, thatexactly 25 years later I would have thehonour and privilege of issuing a CDrecording of this work to mark Carter’s100th birthday in December 2008.

Carter’s centenary day is not only awonderful milestone for the composerhimself, but is in fact an event of muchwider historical significance. Carter’s100th birthday, on December 11th 2008 -Carter was born one day after the Frenchcomposer Olivier Messiaen (1908-1992) -will mark the very first occasion that afirmly acknowledged Great Composerhas reached his 100th birthday. Not thatCarter is music’s first centenarian, by anymeans. The blind Irish harp player DenisHempson (1695-1807), the last Irish harpplayer to play with long crookedfingernails, lived to be 112, living in threecenturies and playing the harp on the dayhe died. But taking a definition of a GreatComposer as a composer whose works

have established deep significance formany people, both performers andlisteners, whose works have succeededin entering the ‘mainstream’ repertoire ofWestern Classical Music, and whoseworks, as far as it is possible to tell, willcontinue to be regarded and performedas long as Western Classical Musiccontinues to have deep significance formany people, Carter is indeed the firstcentenarian.

How to sum up, within the limitedconfines of a CD programme-book, theachievements of a composer born onlyfour years after the death of Dvořák, andsix years before the onset of the FirstWorld War, who is still living – and, evenmore remarkably, still composing? Ofcourse this would be impossible. In thecourse of Carter’s composing career, hismusical style has undergone manytransformations and modifications,notably during the 1960s, much of whichhe spent working on only twocompositions, the Piano Concerto (1967)and the Concerto for Orchestra (1969),both of which have firmly establishedthemselves in the orchestral repertoire,particularly in the United States.

THE COMPOSERS AND THEIR MUSIC

The Piano Sonata (1945-1946) belongs,of course, to an earlier period, thoughCarter’s unmistakable musicalpersonality is as firmly stamped on thiswork as on anything he has written. Intwo movements, much of the music iseither fast or extremely fast, although thesecond movement begins and ends withlong slow lyrical sections, closely relatedto each other in musical content.

The first movement has often been citedas an example of a technique whichsome commentators have referred to as‘metrical modulation’, although personallyI do not feel that this is an appropriateterm to describe Carter’s use of rhythm inthis movement. ‘Metrical modulation’ isgenerally held to refer to a techniquewhereby a composer moves from onetime-signature to another (say from 4/4 to6/8) by means of a wide variety of time-signatures between the two, commencingwith time-signatures quite closely relatedto 4/4, and changing the time-signaturesgradually so that the final arrival in 6/8 isalmost imperceptible. This is indeed atechnique which can be found in Carter’smusic, but in my view Carter’s use ofrhythm in the Piano Sonata is a greatdeal freer than the term ‘metricalmodulation’ implies, and indeed in thefirst movement of the Sonata there arevery few passages where any one ‘time-signature’ (which are never notated in

any case) could be said to establish itselffor more than a few bars. Structurally, theoverall formal procedures followed in thefirst movement of Carter’s Piano Sonataare in fact extremely and effectivelyconventional – a slow, portentousintroduction followed by firmlyestablished ‘first subject’ music and aslower, lyrical second subject. Although‘metrical modulation’ is not a fitting termto describe Carter’s treatment of rhythmduring this movement, it is certainly thecase that much of the music in thismovement is characterised by extremerhythmic fluidity.

The second movement opens with a longsection of slow music. The second part ofthis slow section is characterized bymusic which uses very wide melodicintervals, in a manner which somecommentators have found mildly andhappily reminiscent of the music ofanother great American composer, AaronCopland (1900-1990). However, thegreat glory of this second movement is astupendous fugue, composed with asubject which must, quite simply, be oneof the most ‘pianistic’ fugue subjects everwritten, careering at high speed over aspan of exactly two octaves, in the shapeof a ‘normal distribution curve’. Thissubject tears through the fugue in a quitephenomenal manner, at once beingimmediately recognizable on every

appearance, whilst simultaneouslyblending in perfectly with the musicsurrounding it. Frankly, I doubt if agreater fugue has been written for solopiano since the fugues of the greatGerman composer Max Reger (1873-1916), whose fugues are similarly almostsuperhuman in their achievement.Wonderful fugues also comprise the finalmovements or sections of the PianoSonata by Samuel Barber (1910-1981)and (much less well-known) the superbPiano Sonata No. 1 by the Englishcomposer Cyril Scott (1879-1970), awork very frequently performed by Scott’sfriend Percy Grainger (1881-1961).However, for dynamism, thrust, andgeneral excitement the fugue in thesecond movement of Elliott Carter’sPiano Sonata is, perhaps, peerless. Afterthe conclusion of the fugue, a final slowsection, closely related in musicalmaterial to the opening of the secondmovement, brings the work to agloriously warm conclusion in the key ofB major, the key in which the workcommenced.

MIKLÓS RÓZSA (1907-1995)PIANO SONATA

Miklós Rózsa’s place in history as one ofthe very greatest composers of music forthe cinema is assured. It is noexaggeration to say that, together withMax Steiner (1888-1971), Erich WolfgangKorngold (1897-1957), Alfred Newman(1901-1970),and Franz Waxman (1906-1967), Rózsa genuinely ‘invented’ thegenre of ‘film music’ as we know it - thatis to say, music which is an integratedand vital part of the complete cinematicexperience, both enhancing and makinga vital independent contribution to all theother parts of the cinematic ‘whole’ -acting, photography, direction, script, andso on.

Rózsa, perhaps more than any othercomposer, gave a tremendous amount ofthought to how music may be used togreatest possible effect in the cinema,and he combines in his film scoresgenuinely symphonic motivicdevelopment with intimate considerationsof plot, character, visual effects, anddramatic timing. Every aspect of thecinema was of great interest to him – forexample, his magnificent ‘film noir’scores are notable for the detailedattention he gave to the role of cinematiclighting in creating a complete cinematicexperience. His ‘film noir’ scores also

show his extraordinary ability at capturingthe sometimes conflicting psychologicalsubtleties of strictly ‘one-off’ dramaticmoments, one of many famous examplesbeing the pitiless marching theme Rózsaprovides as Burt Lancaster and hiscolleagues burst from the tunnel in BruteForce, with the ‘snitch’ Jeff Corey tied tothe gondola which shields them.

Many of those who appreciate Rózsa’smusic would say that Rózsa’s scores forsuch classics of the ‘film noir’ genre asDouble Indemnity, The Lost Weekend,The Killers, and Spellbound areultimately Rózsa’s greatest contributionsto film music, although personally I haveequal admiration for his ultra-lush scoresfor many of the great Hollywood Biblicaland Historical epics, with theirunforgettable casts of thousands andtheir sweeping cinematography.Spellbound, incidentally, was directed byAlfred Hitchcock who later complained,somewhat narcissistically, that Rózsa’smusic ‘gets in the way of my direction’.Even accounting for Hitchcock’snotorious ‘Director’s Ego’, it seemsextraordinary that Hitchcock failed toappreciate the fact that Rózsa’s score forSpellbound, with its famous use of theelectronic ‘theremin’ instrument, hasbeen universally acknowledged as one ofthe great contributions to the film’sexcellence. Is it really possible to imagine

the classic scene where Gregory Peckslips into Ingrid Bergman’s bedroom,razor in hand, without Rózsa’s music?

Rózsa’s standing as one of the greatestcomposers of music for the cinema isassured. But what of his concert music?Here a much more complex pictureemerges.

Miklós Rózsa was born in Budapest in1907, into a wealthy Hungarian familywhich owned a vast country estate nearNagylócz, at the foot of the Matramountains. This country estate waswhere Rózsa spent all of his childhood -indeed it is notable that, being born intowealth and subsequently earning veryconsiderable sums of money inHollywood, Miklós Rózsa must be one ofthe very few composers in the History ofWestern Music who never at any time inhis life found himself short of money.

Whilst still studying in Leipzig with MaxReger’s pupil, Hermann Grabner - Rózsaretained throughout his life theprofoundest admiration for Reger’s music- Rózsa’s early compositions attractedthe attention of some of the majorinternational performers of his day. Alsowhilst still a student, Rózsa obtained apublishing contract with Breitkopf andHärtel, who published every one of hisconcert works, from his String Trio, Op. 1

onwards. His first published orchestralwork, Hungarian Serenade for smallorchestra, was premièred in Budapest byDohnányi, and was highly praised byRichard Strauss. However, even greatersuccess was in store for Rózsa’s Theme,Variations and Finale, composed in Pariswhen he was 26. Premièred by thelegendary Bruno Walter, who wasalready in 1934 an admirer of Rózsa’smusic, this work subsequently enteredthe repertoire of many of the mostdistinguished conductors of Rózsa’s era,including Charles Munch, Karl Böhm,Carl Schuricht, Hans Swarowsky, SirGeorg Solti, and Eugene Ormandy.

By the time Rózsa was 28, he enjoyed afirmly-established reputation as the ‘nextgreat Hungarian composer’ after Bartók.Indeed, there were many, especially inHungary, who, finding Bartók’s music too‘difficult’ and Kodály a little drab, greetedRózsa, with his great melodic gift andunaffected emotional directness, almostas a ‘saviour’ of Hungarian music.However, 70 years later, in the earlyyears of the 21st Century, even thegreatest admirers of Rózsa’s music(amongst which I include myself) mustacknowledge that the opportunity ofhearing one of Rózsa’s many orchestralworks performed by a professionalSymphony Orchestra in a major ConcertHall in Europe or the United States of

America is a rarity. Why should this beso?

There are many aspects to this question.The standard, glib, answer is, of course,that ‘no-one takes movie composersseriously when they write for the ConcertHall’. However, this is not an attitudewhich bears very close scrutiny. TheEnglish composer Richard RodneyBennett (born 1936), whose 1972 scorefor Robert Bolt’s Lady Caroline Lamb is aperfect mix of English Romanticism and18

th-Century ‘Baroquerie’, enjoys equal

success and recognition both as acomposer of concert music and as acomposer of music for the cinema. Norhas Rózsa been lacking prominentadvocates of his music.

As we have seen, many leadingmusicians of Rózsa’s era performed hismusic, and became his personal friends.The Violin Concerto was premièred byJascha Heifetz, and the Viola Concertoby Pinchas Zukerman. It would beimpossible to imagine two moredistinguished exponents. Anothercelebrated musician who championedRózsa’s music, and who also achievedconsiderable distinction as a composer inHollywood, was André Previn. In fact, thesame Bösendorfer Imperial ConcertGrand piano which I used for thisrecording was loaned by

Bösendorfer to André Previn for manyyears, where it resided in his Londonhome. Previn contributed a perceptiveand empathetic preface to MiklósRózsa’s autobiography ‘A Double Life’. ‘ADouble Life’ is, of course, also the title ofa famous ‘film noir’ for which Rózsawrote the music. In this film, an actorplaying Othello (Ronald Coleman)becomes so obsessed by the part whichhe is playing that he ends up murderingthe woman he imagines to beDesdemona. Method Acting taken to arather ridiculous extreme, one might say.Rózsa often used the plot of this film toillustrate the necessity, as he saw it, ofkeeping the two parts of his ownprofessional life – Music for the Cinemaand Concert Music – wholly separate,although personally I have neverunderstood entirely what constituted this‘seperateness’ in his own mind.

Personally, I think the reasons thatRózsa’s music is currently a comparativerarity in the Concert Hall have more to dowith general historical circumstancesthan purely musical considerations. Likeso many artists resident in Germany inthe early 1930s, Rózsa was quick to seethe urgent necessity of leaving Germanyat the first opportunity. In hisautobiography ‘A Double Life’, Rózsadescribes the mass hysteria hewitnessed sweeping through the crowd at

one of Hitler’s rallies in Leipzig. Hisdescription of people ‘losing all sense ofreality and reason’ and ‘women fainting’puts one remarkably in mind of 1960s‘Beatlemania’. Rózsa also relates how onone occasion he found himself eating atthe same restaurant as Hitler. Ever thebon viveur, Rózsa took particularexception to Hitler’s teetotalism, non-smoking, and vegetarianism, writingcontemptuously in his autobiography ofHitler ‘ostentatiously drinking milk andeating salad’. Curious indeed that thedietary habits of one of the most evil menever known should have become themedical orthodoxies of the early 21

st

Century.

Leaving Germany, Rózsa went first toParis, then to London, where he workedon films directed by his fellow-Hungarian,Alexander Korda. In 1940, at thesuggestion of Korda, Rózsa emigrated tothe United States of America, where hespent the rest of his life, not returning toHungary for 40 years. After theconclusion of the Second World War,Hungary, effectively forced to become aSoviet Republic, had forgotten all aboutRózsa. He belonged to a distant past, apast where aristocrats owned huge tractsof land, and where a peaceful ruraleconomy had been established as avirtually unchanged way of life forcenturies. Furthermore, according to

Soviet Socialist doctrine, under whichHungary was forced to live for so manyyears, Rózsa was effectively a ‘traitor’, anaturalised American who relished theHollywood lifestyle, buying a large homein the Hollywood hills, and marryingGracie Fields’s secretary. All very non-Soviet Union. Even in Western Europe,the world had changed beyondrecognition. Rózsa’s expansiveRomanticism seemed sadly at odds witha world recovering from massdevastation. Indeed, some might evensay, unkindly, that Rózsa found hisnatural vocation in the ‘fantasy’ world ofthe cinema, and of Hollywood cinema inparticular. There may even be some truthin that assertion.

Nonetheless, there can be no doubt at allthat Miklós Rózsa composed asubstantial body of concert music of thevery highest quality, and it is pleasing tosee more and more younger conductorsand instrumentalists taking a seriousinterest in his music. Rózsa himselfalways considered the Piano Sonata thefinest of his concert works. The Sonatahas no greater admirer than myself, but Ihave never been entirely certain why thecomposer himself should regard thePiano Sonata as a finer work than, say,the Violin Concerto or the Viola Concerto.However, I certainly think the extremelyfast ‘Bartók-goes-to-Hollywood’ third

movement of the Piano Sonata is asgood a finale as Rózsa wrote for any ofhis concert works.

Perhaps in conclusion it might be fittingto quote a paragraph from Rózsa’sautobiography, in which he comes asclose as he ever did to outlining hisgeneral musical philosophy:

“I have no time for any music which doesnot stimulate pleasure in life, and evenmore importantly ‘pride’ in life. For thisreason I find myself as out of sympathywith the so-called avant-garde of todayas I did with the avant-garde of my ownyouth – Schönberg and the SecondViennese School. I am an unashamedchampion of tonality. Its possibilities weresupposed to be exhausted at the turn ofthe century, yet today, eighty years later,composers are still finding new and vitalthings to say within its framework. I am atraditionalist, but I believe tradition can beso recreated as to express the artist’sown epoch while preserving itsrelationship with the past…….I have triedalways in my own work to expresshuman feelings and assert humanvalues, and to do this I have never feltthe slightest need to move outside theorbit of the tonal system.”

EDWARD MACDOWELL (1860-1908)PIANO SONATA No. 4 (‘Keltic’), Op. 59

During his youth, and particularly duringthe period 1879-1888 when he lived inGermany, first as a student at theFrankfurt Hochschule für Musik andsubsequently as a tutor in Darmstadt,MacDowell thoroughly, passionately andcomprehensively embraced the idealsand ethos of nineteenth-century GermanRomanticism. He read and re-readGoethe, Schiller, and Heine in German.Even during an age where Wagner-worship was gripping Europe almost likesome kind of mania, MacDowell’sadoration of Wagner’s music wasexceptional. During his student years,when he studied composition with theSwiss-German composer Joachim Raff(1822-1882) in Frankfurt, MacDowellwould lovingly analyse every aspect ofWagner’s apparently divine harmony andcounterpoint, seeing in Wagner a musicalgenius without parallel since J.S.Bach(1685-1750). MacDowell’s admiration forWagner, Brahms, Mendelssohn andSchumann never wavered, andthroughout his life he regarded the idealsof German Romanticism as the ultimateideals to which any creative artist couldaspire. I write ‘creative artist’ rather than‘composer’ advisedly, as MacDowell wasone of that extremely rare breed – amusician also possessing considerable

abilities in other fields of creativeendeavour – in MacDowell’s case, bothpainting and literature. A number ofMacDowell’s paintings survive, includinga philosophically revealing self-portraitpainted when he was fourteen. Later, in1883, he drew a well-known sketch ofLiszt. MacDowell wrote verse periodicallythroughout his life, and his Piano SonataNumber 4 (‘Keltic’) is prefaced by a shortquatrain of his own:

‘Who minds now Keltic tales of yore,Dark Druid rhymes that thrall;Deirdre’s song, and wizard loreOf great Cuchillin’s fall.’

It was inevitable, given MacDowell’swholehearted empathy with the ideals ofGerman Romanticism and his own Scots-Irish background, that MacDowell shouldin due time discover and immerse himselfin Gaelic and Celtic legend andmythology. In particular, he found a greatdeal of creative inspiration in the famousGaelic Cycle of the Red Branch, to whichhis short poem prefacing the PianoSonata Number 4 (‘Keltic’) alludes. Thisfull-blooded collection of epic tales, whichhave many parallels with the Arthurianlegends (unsurprisingly, Arthurianlegends also fascinated MacDowell),features two characters very prominently– the matchless Deirdre, (‘not upon theridge of Earth was there a woman more

beautiful’) and, of course, the heroicwarrior Cuchillin. MacDowell identifiesthese two characters in his prefatorypoem with a purpose. The composerhimself was at pains to point out that his‘Keltic’ Sonata is not in any sense‘programme-music’ – the music has noaspirations of any kind towards any sortof ‘narrative’ aspect. However the secondmovement is (to my mind)unquestionably a portrait of theincomparable Deirdre, overflowing withboth beauty and passion, and MacDowellhimself strongly hinted that the closingpages of the third and final movementcould be taken to some extent as hisdirect response to the manner ofCuchillin’s death, as described in theCycle of the Red Branch, and a portrayalof the emotions of some those close tothis event.

Much more tragically, however, theevents surrounding MacDowell’s owndeath, which occurred in January 1908,are even more affecting in their naturethan the tale of the death of thelegendary Cuchillin.

From 1896 to 1904 MacDowell was thefirst Professor of Music at ColumbiaUniversity, New York. Though initiallydelighted to take up this appointment (theCommittee announcing his appointmentdescribed MacDowell, rightly, as ‘the

greatest musical genius America hasproduced’) his initial pleasure in the workinvolved with this Professorship soonturned to intense frustration with small-minded University bureaucracy which indue course led to a bitter, protracted, andvery public war of attrition with ColumbiaUniversity’s then President, Dr. MurrayButler. In 1904 MacDowell resigned hisProfessorship, feeling utterly defeated,demoralized, and dejected. He alsosuffered a traffic accident, being felled onNew York’s busy roads by anunobservant hansom cab driver. Manyclose to MacDowell, including his wife,believed he suffered some sort of braininjury as a result of this accident, thoughthis can never be established with anydegree of certainty.

At all events, during the last four years ofhis life MacDowell sank into a profounddepression which early 20th-CenturyMedical Science (the concept ofPsychiatry, of course, hardly existed atthat time) proved powerless toameliorate. Though he maintained hisphysical well-being quite well until thefinal months of his life, MacDowell’scognitive and creative functions graduallydecreased to almost nothing, and he dieda few weeks after his forty-seventhbirthday, on January 23rd, 1908.

MacDowell composed his Fourth Piano Sonata (‘Keltic’) in 1901, during the most intense period of his frustrations at Columbia University, and at the height of his increasingly bitter and extremely public battle with Dr. Murray Butler, the then President of Columbia University. MacDowell was a painter, drawn to both portraiture and self-portraiture. I think it is not too fanciful too see the second movement of this Piano Sonata, ostensibly a portrait of the matchlessly beautiful Deidre of Gaelic legend, as MacDowell’s tribute to his wife, Marian, a former pupil to whom he was almost uxoriously devoted, whom he had married in Connecticut on July 11th, 1884, and whose love and support for him during these difficult times was unconditional. More tragically, is the tempestuous third movement another MacDowell self-portrait, the portrait of a man – a Celt – fighting overwhelming odds? I think the evidence suggests that it is.

Peter Seivewright, Port of Spain, Trinidad 23.9.2008.

This album was recorded at The Byre Recording Studio, Inverness. Carter: 12 October 2007 Rózsa: 29 October 2007 MacDowell: 13 October 2007

Engineer: Andrew Graeme Audio Editor: Matt Robertson Producer: Peter Seivewright Piano: Bösendorfer Imperial Piano technician: Glyn Morris (Moray Firth Pianos) Design: Stephen Sutton (Divine Art) Cover photo: The Round Barn at Shelburne Museum, Vermont, USA © Stephen Sutton

℗ 2009 Peter Seivewright © 2009 Divine Art Limited

OTHER RECORDINGS BY PETER SEIVEWRIGHT:

divine art DDA 25006 Galuppi: Complete Piano Sonatas, volume 1

divine art DDA 25007 Galuppi: Complete Piano Sonatas, volume 2

divine art DDA 25015 Galuppi: Complete Piano Sonatas, volume 3

divine art DDA 21205 Louis Glass Piano Music

Peter Seivewright was born in Skipton,England, in 1954. He studied music atOxford and then spent three years as apost-graduate student at the RoyalNorthern College of Music in Manchester,studying piano with Ryszard Bakst. As astudent he was a frequent soloist withRNCM orchestras, receiving particularPress attention for his performance ofRichard Rodney Bennett's PianoConcerto.

Peter Seivewright has performedextensively as a recitalist and concertosoloist throughout Great Britain, Ireland,Norway, Germany, Italy, Belgium,Denmark (eight recital tours), Latvia,Estonia, Vietnam, Kazakhstan, Australia(four recital tours), China, India, Trinidadand Tobago, Kuwait, the United States ofAmerica and Russia. Notable successesin Europe include his recital on theopening night of the HeilbronnInternational Piano Forum, a recital whichwas enthusiastically reviewed in papersand journals in Germany and Italy, andhis 1994 recital in the InternationalMasters of the Keyboard series inBruges, Belgium. One of the few Britishpianists ever to be invited to perform inthis major European piano recital series,his performances of Bach's Goldberg

Variations and Rachmaninov's 2nd PianoSonata were

rapturously received with a prolongedstanding ovation. Peter Seivewright hasgiven recitals and concerto performancesin the best-known Concert Halls of all thecountries he has visited, including theWagner Hall, Riga, Latvia; the NationalConcert Hall, Hanoi,Vietnam; the MelbaHall, Melbourne, Australia; the AarhusFestival, Denmark; the Concert Hall ofthe Forbidden City, Beijing, China; andthe Philharmonic Hall, Arkhangelsk,Russia.

He has appeared as concerto soloist witha number of leading British orchestras,including the Hallé Orchestra, the MiltonKeynes City Orchestra, the Orchestra ofScottish Opera, the Scottish Sinfonietta,the Strathclyde Sinfonia, CamerataScotland, the Scottish Baroque Soloists,and the Paragon Ensemble, with whomhe has appeared as a soloist on anumber of occasions. In 1998 he gavethe world première of the Piano Concertoby the Scottish composer Rory Boyle,with the Liepaja Symphony Orchestra inLiepaja, Latvia, and in 2001 gave thepremière in the countries of the formerSoviet Union of the Piano Concerto(1930) by the English Romanticcomposer John Ireland (1879-1962) withthe State Academic Symphony Orchestra

THE PIANIST

of the Republic of Kazakhstan and theirRussian conductor TolepbergenAbdrashev, in the Philharmonic Hall,Almaty. In June 2003 Peter Seivewrightgave the Celebrity Bach recital at theInternational Bach Academy in Boston,MA, USA. In February 2003 he made hisRussian Debut with the ArchangelskPhilharmonic Society in North WestRussia, and performed Tchaikovsky'sPiano Concerto No. 1 in Beijing, Chinaon New Year's Day 2006 with the BeijingSymphony Orchestra. In October 2006,Peter Seivewright performed in India forthe first time, playing the J.S. Bach PianoConcerto in D minor with the CalcuttaChamber Orchestra in St. Paul’sCathedral, Calcutta, during the 2006'Baroque in Bengal' Festival.

Peter Seivewright's CD discography isextensive and includes: The CompletePiano Music of Carl Nielsen (2CDs -Naxos), Contemporary Scottish PianoMusic, (Merlin), and the major pianoworks by the Danish Romantic composerVictor Bendix (Rondo). Peter is workingthrough a series of ten CDs for Divine Artfeaturing all of the 90 Piano Sonatas ofBaldasarre Galuppi, the last greatcomposer of the Venetian Republic (3issued so far). In 2007 Divine Artreleased a CD comprising the majorpiano works of the Danish composerLouis Glass (1864-1936). Futurerecording plans with Divine Art include a

recording of four Bach concertos with theScottish Baroque Soloists, a disc ofRomantic Piano Concertos, which willinclude those by Bendix and Hartmann,and new recordings of piano works ofMax Reger, Martin Dalby, and W GWhittaker.

In 2008 Peter Seivewright took up thepost of Founding Professor of Music atthe Academy for the Performing Arts atthe University of Trinidad and Tobago.He will divide his time between homes inPort of Spain, Trinidad, and Glasgow,Scotland.

Peter Seivewright

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