[Mitropoulos, Dimitri. (1896-1960)] Piastro, Mishel. (1891-1970)
Ostinata in 3 Movements - Copy and Annotations by Mishel Piastro
Facsimile autograph copy of the important early Greek modernist composer's early twelve-tone duo for violin and piano, Ostinata in 3 Movements (1927), as copied and annotated by the violinist Mishel Piastro. Apparently photocopied from an autograph copy used in performance, this copy contains photocopied annotations as well as later autograph annotations in pencil. Markings include piano fingerings, slurs, note names, circled and "x"d spots, tempo markings, added note stems and bars (p. 34), and caesuras. 39 pp. Hole-punched and bound with metal rings, the holes reinforced with tape. Light overall toning; overall in fine condition. 9.5 x 12.5 inches (24 x 32 cm)."After his contact with the music of Arnold Schoenberg, Igor Stravinsky, and Béla Bartók in Berlin, Mitropoulos became the first Greek composer who – in his mature works of the years 1924–8 – made use of modern techniques and styles, such as atonality (Passacaglia, Intermezzo e Fuga, 14 Invenzioni), the 12-tone method (his Ostinata is one of the earliest 12-tone compositions in European music history), new folklorism (Four Cytherean Dances) and neoclassicism (Concerto grosso)." (Ioannis Fulias, Grove Online.)
Piastro was one of Auer's great Russian-Jewish students, and with Elman and Zimbalist, he was exempted from military service by the Czar in order to further his career. Concertmaster of the of the San Francisco Symphony from 1925-31, he later was engaged by Toscanini to lead the NY Philharmonic, and won nationwide renown through his annual broadcasts as soloist with the orchestra. During Barbirolli's leadership of the NY Philharmonic, Piastro was assistant conductor (1941-43) and also began serving as conductor and violin soloist with the Longines Symphonette, which performed for many years on radio and recordings. He also played frequently under Mitropoulos' baton during this period. (14274)
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