Book contents
- Frontmatter
- Contents
- List of Illustrations
- Preface
- Acknowledgements
- Miscellaneous Frontmatter
- Chapter One Conquering Brazil—Mangoes, Cantadores, and the Importance of Solfège
- Chapter Two Establishing Himself in the United States Yale, Hindemith, and Winning the Koussevitzky Prize
- Chapter Three Realizing a Dream—An International Solo Career
- Entr'acte: Parisot as Painter—The Importance of the Circle—Spectrum of Color in Art and Music
- Chapter Four Extraordinary Performances: the Parisonatina and Others—The Alaska Trip: a Beaver Coat for the Cello
- Chapter Five Extraordinary Performances—The Most Difficult Cello Concerto—Continuing to Champion Contemporary Music
- A Journey: The Polish Tour
- Chapter Six In a Spirit of Generosity—Cello Festivals in Brazil's Nordeste and Brazil's “Switzerland”
- Chapter Seven The Yale Cellos—A Sound of Clarity and Beautiful Resonance
- A Journey to China After the Cultural Revolution
- Chapter Eight Parisot as Master Teacher—Festivals Master Classes, Competitions
- Appendix One Composer Descriptions of Works Dedicated to Parisot
- Appendix Two Additional Material on Festivals, Competitions, and Conservatories
- Appendix Three Interviews with Colleagues (former students).
- Appendix Four Parisot's “Keynote Address” at Commencement at the Harid Conservatory, May 1994
- Appendix Five Aldo Parisot: Awards
- Selected Bibliography
- Selected Discography
- Index
Appendix Two - Additional Material on Festivals, Competitions, and Conservatories
- Frontmatter
- Contents
- List of Illustrations
- Preface
- Acknowledgements
- Miscellaneous Frontmatter
- Chapter One Conquering Brazil—Mangoes, Cantadores, and the Importance of Solfège
- Chapter Two Establishing Himself in the United States Yale, Hindemith, and Winning the Koussevitzky Prize
- Chapter Three Realizing a Dream—An International Solo Career
- Entr'acte: Parisot as Painter—The Importance of the Circle—Spectrum of Color in Art and Music
- Chapter Four Extraordinary Performances: the Parisonatina and Others—The Alaska Trip: a Beaver Coat for the Cello
- Chapter Five Extraordinary Performances—The Most Difficult Cello Concerto—Continuing to Champion Contemporary Music
- A Journey: The Polish Tour
- Chapter Six In a Spirit of Generosity—Cello Festivals in Brazil's Nordeste and Brazil's “Switzerland”
- Chapter Seven The Yale Cellos—A Sound of Clarity and Beautiful Resonance
- A Journey to China After the Cultural Revolution
- Chapter Eight Parisot as Master Teacher—Festivals Master Classes, Competitions
- Appendix One Composer Descriptions of Works Dedicated to Parisot
- Appendix Two Additional Material on Festivals, Competitions, and Conservatories
- Appendix Three Interviews with Colleagues (former students).
- Appendix Four Parisot's “Keynote Address” at Commencement at the Harid Conservatory, May 1994
- Appendix Five Aldo Parisot: Awards
- Selected Bibliography
- Selected Discography
- Index
Summary
Following below are more detailed accounts of his activities at some of the festivals, competitions, and some conservatories. In some cases competitions are part of the festival. The information has been gathered from concert programs and printed material from the festivals.
NORTH AMERICA
1. UNITED STATES: Norfolk, CT, Garrett Lakes, Maryland, and the Harid Conservatory, Boca Raton, Florida.
Parisot enjoyed a long and fruitful association with the Yale Summer School of Music in Norfolk, CT, playing much solo repertoire in addition to his other duties. He often performed new works there before he performed them in larger venues. On occasion he brought his students to perform and sometimes invited illustrious colleagues. The relaxed and informal atmosphere made this festival a special place. And it was here that Parisot also nurtured his interest in art.
Parisot played his first concert at Norfolk with pianist Leopold Mittman on 19 July 1950, a solo program that included the Villa-Lobos Fantasia and the Quincy Porter Fantasy and Dance (the Porter written especially for Parisot)– both pieces that had been on his debut recital earlier in that year. Parisot also gave the premieres of two other solo works expressly written for him, one by Alvin Etler, the Concerto for Cello and Chamber Group, and the other the extraordinary virtuoso solo vehicle with which he had a tremendous success, as we have seen: Parisonatina by Donald Martino. In 1971 Parisot performed the piece that Yehudi Wyner wrote expressly for him, De Novo. And at some point he and Keith Wilson also performed the von Winter Concerto for Cello and Clarinet. Among the major solo concertos that Parisot performed at Norfolk are the Dvorak Concerto, in 1967, the Lalo Concerto, in 1970, and a Hindemith Concerto Op. 36, No. 2, also in 1970. And there were others.
From 1959-1975, a period of seventeen years, Parisot is listed on the faculty of Norfolk; then subsequently he is also listed from 1980-1982, 1985- 1986, and 1989-1990; and there are programs that confirm his continued activity in Norfolk to the late nineties.
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- Aldo Parisot, The CellistThe Importance of the Circle, pp. 127 - 132Publisher: Boydell & BrewerPrint publication year: 2018