Laurence Lesser

About Laurence Lesser

A native of Los Angeles, LAURENCE LESSER was a top prizewinner in the 1966 Tchaikovsky Competition in Moscow and a participant in the historic Heifetz-Piatigorsky concerts and recordings.  Mr. Lesser has appeared as a soloist with the Boston Symphony Orchestra, the London Philharmonic, the Los Angeles Philharmonic, the New Japan Philharmonic, the Tokyo Philharmonic and other major orchestras.  His New York debut recital in 1969 was greeted as “triumphant” and “magical.”  His Tchaikovsky Rococo Variations in Hamburg, Die Welt stated, “could not have been more thoroughly realized than is this staggering performance.”

As a chamber musician he has participated at the Casals, Marlboro, Spoleto, Ravinia, Music@Menlo and Santa Fe festivals.  He has also been a member of juries for numerous international competitions, including chairing the Tchaikovsky Competition in Moscow in 1994.

A 1961 graduate of Harvard College, where he studied mathematics, LESSER went to Köln, Germany the following year to work with Gaspar Cassadó. Just before, he played at the Zermatt master classes for Pablo Casals, who declared, “Thank God who has given you such a great talent!”  He won first prize at the Cassadó Competition in Siena, Italy in 1962. When he returned to Los Angeles, he studied with Gregor Piatigorsky and soon became his teaching assistant and regular faculty member at the University of Southern California.

During the remainder of the 60’s he was a frequent contributor to the artistic life of Los Angeles.  Notably, his 1965 performance of the Schoenberg Cello Concerto to inaugurate the Bing Auditorium at the Los Angeles County Museum of Art was its first hearing with orchestra after Emanuel Feuermann introduced the work in the late 1930’s.  He recorded it the following year for Columbia Masterworks.  He left Los Angeles in 1970 to become Professor of Cello at Baltimore’s Peabody Institute.

LESSER was invited in 1974 by Gunther Schuller, the then President of New England Conservatory, to head NEC’s cello department.  In 1983 he was named the school’s President, a position from which he retired in 1996 to return to performing and teaching.  A high point of his tenure as President was the complete restoration of the 1000-seat Jordan Hall, one of the world’s greatest acoustical spaces.

Teaching has always been an important part of LESSER’s artistic activity.  His former students, numbering in the hundreds, are soloists, orchestra section leaders and members, chamber musicians and teachers, active throughout the USA and in many other countries around the world.

In September, 2005 LESSER was named “Chevalier du Violoncelle” by the Eva Janzer Memorial Cello Center at Indiana University.

LESSER’s previous recordings include the complete Beethoven with pianist HaeSun Paik on Bridge Records.  Other labels include RCA, Columbia, Melodiya and CRI.

http://necmusic.edu/archives/laurence-lesser
http://www.laurencelesser.com/

The Bach Suites Dilemma – by Laurence Lesser

For longer than any of us may care to remember, we know that violinists are blessed with a beautiful manuscript of Bach’s 6 solo works they have, carefully written out by the composer; but sometime after he wrote the 6 suites for solo cello (finished by 1721) his manuscript disappeared, probably after his death, and has to date never been found.  We are very lucky to have 2 sources, each important in different ways, that have saved these works from oblivion: copies by his wife, Anna Magdalena and by his Leipzig fellow musician, Johann Peter Kellner.  While each has its share of problems, we have more than enough from them to be able to perform these great works.  But still, no MS from the composer . . .  In this [...]

By |2022-11-14T13:13:39-05:00January 22nd, 2017|Categories: Performance, Repertoire|Tags: , , |

Memories of Bernie: Music and Food — by Laurence Lesser

The first time I met Bernard Greenhouse was after a performance the Beaux Arts Trio gave of the Beethoven Triple Concerto with the Baltimore Symphony. I was teaching at the time at Peabody (1970-74). My wife and I were invited to join them at a restaurant after the concert and we had pleasant conversation. But what I remember most was the effortlessly beautiful opening of the concerto’s slow movement. It had such grace I have never forgotten. Even before then, when I was studying with and then assisting Piatigorsky at USC, I remember a conversation at my teacher’s home when he was holding the LP of the Beaux Art’s recording of the Dvořák f minor Trio. Heifetz and he had just released their performance with Leonard Pennario of the same piece. Piatigorsky said, “They play it so [...]

Some Thoughts About My Bach Recordings — by Laurence Lesser

When anyone approaches the Bach Cello Suites, it’s natural to begin thinking about a “correct” way to play them.  My teacher, Gregor Piatigorsky, used to say:  “Never play for the cellists in the audience—they always have a different idea.”  Start that instead with “Never play Bach for . . .” and life gets even harder! Like every young cellist of my generation, I was very influenced by the recordings of Pablo Casals. How could I not be? He was considered the “greatest” cellist of his day and my then teacher, Gabor Rejto, had studied with him. And how could one deny the performances of an artist who always convinced you, at least as long as his sounds were in your ears. I was lucky enough to play the D minor [...]

By |2023-01-22T18:43:04-05:00November 20th, 2015|Categories: Artistic Vision, Baroque, Repertoire, Self Discovery|Tags: , , , |
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