Anna Serova violist, Irina Morozova pianist, viola playing

The viola will soar to artistic heights in collaboration with pianist, Irina Morozova

Out of curiosity, I GOOGLED Anna Serova, because pianist Irina Morozova announced her collaboration with the violist in New York City on Feb. 8. (Any music-making with Morozova’s autograph draws my attention)

Mannes Building, 150 West 85th Street

“A stellar musical event. A concert showcasing the artistry of internationally acclaimed performers and distinguished faculty members at a leading New York conservatory.”

Free; no tickets or reservations required; seating is first-come first-served

Box Office Information:

For more information call 212.580.0210 x4817

150082_10151247242577514_1758790390_n Morozova and Serova

My first response before heading to YOU TUBE as my next cyber stop was– Viola?.. the old cliche abounded: “Viola players are always taken among the refuse of violinists,” wrote Hector Berlioz.

Another insalubrious quote: “According to spotlight-hungry violinists, violas are only good for filling in a bit of middle-part harmony and should never be trusted with a good tune. And really, argue the cellists, seeing as the viola has the same strings as the cello, just an octave higher, what’s the point?”


When I studied violin back in the late 60s, if you wanted to be a top pick for Big Apple freelance gigs, you advertised yourself as a violist.

But not as soloist, by the way. It wasn’t an option. You were a chamber player, and your neck ached for hours after rehearsal. PULEEZE, when will this be over?

Even Murray Perahia, looked pained, with the thing hanging down, ready to slip into the shadows of a roach-infested musical space at the NYC HS of Performing Arts. He was “sitting in” with his required second instrument. (It was mandatory) Actually, the fire drill alarm went off in the nick of time. It was the fastest disappearing act on record, with an orphaned viola left to burn in hell. Who would notice?

In all honesty, I never heard a violist who drew me into an ethereal universe of beauty, until I sampled Anna Serova’s playing. And I knew at once that it must be shared. (Note: she bows a divinely expressive Amati, 1615)

Performances I’ve selected, Bruch “Romanze” (In my humble opinion, the viola is cradled with such ease–an extension of this artist’s being in every way)

In the second selection, a marvelous conductor and pianist, Filippo Faes, joins Serova in a soulful rendering of Joaquin Turina’s “Scène Andalous.”

and finally— Irina Morozova collaborates with Serova in a Glinka Sonata.

Please, attend the concert in NYC tomorrow evening if these performances have in any way whetted your appetite. If I lived closer to the Apple, I’d be a strap-hanger on the subway train, fighting the theater mob to get to this…


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