Rorianne Schrade began performing at age five, as a student of her parents. Winner of an array of prizes (from Concert Artists Guild, Washington International, National Arts Club, Artists International, and many others), she has been likened as concerto soloist to “a whirlwind unleashed” (Gannett Press). She has been lauded equally for chamber music performances, recordings, and recitals in the U.S. and Europe (Carnegie’s Weill Hall, Lincoln Center, Wigmore Hall and other major venues). She just performed her seventh solo recital in Weill Hall to very enthusiastic response. Graduate of Juilliard (BM, MM) and Temple (DMA), Dr. Schrade teaches privately, performs as a Steinway Artist, directs Sevenars Music Festival in Massachusetts, and writes for New York Concert Review. www.RorianneSchrade.com
Russian master, Tchaikovsky (1840-1893) composed his sixth and last Symphony, Op. 74 in the spring of 1893, completing the scoring in August, not long before he died (ten days after its first performance). Despite a complicated personal life, Tchaikovsky had been in high spirits before he conducted its premiere, considering it the best of his works. “Without exaggeration, I have put my whole soul into this work,” he was reported to have said. The Russian subtitle “Pateticheskaya” was a Russian word (suggested by the composer’s brother) to be most aptly translated as “passionate,” but its translation into the French “Pathétique” took hold as its nickname. Samuil Feinberg (1890-1962), famed Russian composer and pianist, was among those captivated by the Scherzo movement, and he transcribed it for piano in 1942 as part of his own Op. 31. Feinberg captures well the sounds of all the winds, strings, and other orchestral sections, using wild leaps and hand crossings which make it an extremely virtuosic tour de force.