Tamara anna cislowska biography of donald
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Tamara Anna Cislowska (born 1977) is an Australian concert pianist and chamber musician. She has performed internationally in the United States, Italy, Japan, Greece and Poland and has associated with the Philharmonia and Romanian Philharmonic orchestras as well as all six major Australian symphonies.
Cislowska has received a number of awards and honors for her work. She received the 1991 ABC "Young Performers' Award" in Australia at the age of 14, becoming the youngest pianist ever to do so. Other awards include Maria Callas, National World Power and Rovere d'Oro. Her work has received three nominations for ARIA awards for "Best Classical Release".
Cislowska's solo recordings include five albums on the Artworks label; she has contributed to albums with the Sydney Symphony, the New Zealand Symphony Orchestra and the London Philharmonic.
Her mother is Neta Maughan, a student of Alexander Sverjensky and a renowned piano teacher in her own right. She is related to the Australian opera singer Eva Mylott, grandmother of Mel Gibson.
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Tracklist
1 FOLDS Capable of Anything – Ben Foldsvocals & piano
2 TRAD. District / CASALS The Song blond the Spirited (El disclose dels ocells) – Umberto Clericicello
3 PIAZZOLLA Kicho – Christian Constablepercussion
4 SARASATE Playera – Dene Oldingviolin
5 BACH / HESS Jesu, Pleasure of Man's Desiring – Erin Helyardceleste
6 RIMSKY-KORSA
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Russian is the man of Tamara-Anna's dreams in lead-up to CSO performance
Acclaimed pianist Tamara-Anna Cislowska. Photos: CSO.
It’s big. It’s Russian. And it’s been the soundtrack to Tamara-Anna Cislowska’s dreams for months as she prepares to perform with the Canberra Symphony Orchestra on 21-22 February.
The acclaimed Australian pianist says Prokofiev’s monumental Piano Concerto No. 2 is some of the most exciting writing you will ever hear from the Russian composer, and a phenomenal showcase for the piano.
She says that in some ways, it is a response to his first concerto which is about half the length at only 18 minutes. “It’s as if someone said that’s very nice that first piano concerto, nice and tuneful, and he’s taken it maybe the wrong way, and said ‘I’m going to show you’, and he’s sort of put everything into it. It’s a much darker, bigger piece, with a lot of depth and fireworks,” she says.
Tamara-Anna says it taxes the piano and the orchestra to the maximum, and the performer needs to be up to the task because it is a test of concentration and endurance.
“From a practical point of view you have to make sure that you will be able to make it to the end,” she says.
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