Description

LEO SIROTA (LEIBA GREGOROVICH SIROTA, KAMENETS-PODOLSKY, PODOLIA GOVERNORATE, RUSSIAN EMPIRE, MAY 4, 1885 – NEW YORK CITY, US, FEBRUARY 24, 1965)

 

 

 

 

Leo Sirota was a distinguished pianist whose career and influence extended across Europe, Japan, and the United States. A representative of the great Central European pianistic tradition, he was especially associated with the artistic ideals of Ferruccio Busoni, under whom he studied and whose music he championed throughout his life.

Born in what is now Ukraine, Sirota demonstrated exceptional musical ability at an early age. He received his first formal education at the Imperial Music School in Kiev, where his talent quickly set him apart. Determined to pursue the highest level of artistic training available at the time, he moved to Vienna, then one of the principal musical capitals of Europe. There he became a pupil of Ferruccio Busoni, whose rigorous intellectual approach to music, emphasis on structure, and broad humanistic outlook profoundly shaped Sirota’s musical thinking and pianism.

Busoni regarded Sirota as one of his most gifted and trustworthy students and encouraged his development as a concert artist. Sirota soon began appearing in major European centers, including Vienna and Berlin, earning recognition for performances that combined technical command with architectural clarity and expressive restraint. Among the most significant events of his early career was his performance of Busoni’s vast and demanding Piano Concerto, which he presented under the composer’s own direction—an indication of the confidence Busoni placed in him and a milestone that firmly established Sirota’s reputation within progressive musical circles.

Although widely admired by musicians and critics, Sirota left behind only a small number of commercial recordings. As a result, his name gradually faded from public awareness, especially when compared to contemporaries with extensive discographies. Nevertheless, accounts from colleagues and surviving broadcast recordings reveal a pianist of remarkable intellectual depth, refined tone, and commanding sense of musical structure, particularly well suited to the music of Busoni, Beethoven, Brahms, and other composers of the Germanic tradition.

In 1929, at the height of his European career, Sirota made a decisive move to Japan, accepting an invitation that would lead to a profound and lasting impact on the country’s musical life. Over the next sixteen years, he became one of the most respected pianists and teachers in Japan. As a pedagogue, he played a crucial role in shaping modern piano education there, transmitting the traditions of European pianism to a new generation of Japanese musicians. As a performer, he appeared widely in recital and concerto repertoire, earning admiration for both his artistry and his dedication to musical standards.

The outbreak of World War II brought a sudden and tragic interruption to this flourishing chapter of his life. As a foreign national, Sirota, together with his wife, was placed under house arrest in a rural area of Japan. Cut off from public performance and musical institutions, he endured years of isolation and hardship. Despite these conditions, he continued to study, reflect, and preserve his artistic ideals, maintaining an inner connection to music even when external circumstances made performance impossible.

Following the end of the war, Sirota emigrated to the United States, where he gradually rebuilt his career. In 1947, at the age of sixty-two, he made his long-awaited Carnegie Hall debut, an extraordinary achievement that testified to his resilience and enduring artistic vitality. The concert was well received and marked his formal reentry onto the international stage. He subsequently settled in St. Louis, where he joined the faculty of the St. Louis Institute of Music, devoting himself once again to teaching.

In addition to his pedagogical work, Sirota became widely known through a series of extensive radio broadcasts, in which he performed and discussed major works of the piano repertoire. These broadcasts played an important role in introducing American audiences to a broad range of classical music, including compositions associated with the Busoni tradition that were rarely heard at the time. Through these programs, Sirota reached listeners far beyond the concert hall and continued to exercise influence as an interpreter and musical thinker.

In his later years, Sirota remained active as both performer and teacher. In 1963, he returned to Japan for a deeply emotional farewell tour, greeted with warmth and respect by audiences who remembered his decisive role in the development of their musical culture. These appearances served as a final acknowledgment of the bond he had formed with Japan over decades of artistic dedication.

Leo Sirota died in 1965, leaving behind a legacy that for many years remained largely hidden due to the scarcity of recordings. In recent decades, however, the rediscovery of radio transcriptions and archival materials has led to a renewed appreciation of his artistry. Today, he is recognized as an important figure in 20th-century pianism—a musician of profound intellect, disciplined technique, and expressive seriousness, whose life and work reflect both the triumphs and the upheavals of his era.

 

 

TRACKLIST

 

 

1923-1926 Homochord recordings

Air and variations (‘The Harmonious Blacksmith’) (Handel) Homochord HB 2084

Berceuse Op. 57 (Chopin) Homochord HB2082

Capriccio in E major, K 20 L 375 (Scarlatti-Tausig) Homochord H513

Czech Dances, Book 1 – III – Polka (Smetana) Homochord HB 2126

Etudes Symphoniques Op. 13 (Schumann) Homochord Part I, Part II, Part III, Part IV, Part V, Part VI HB 2120, HB 2133, HB 2132, HB 2132, HB 2133, HB 2133, T5150, T5151, T5152, T5153, T5154, T5155

Hungarian Rhapsody in D-flat, S. 244 No. 6 (Liszt) Homochord HB2073

La Campanella (Paganini-Liszt) Homochord HB2073

L’alouette (‘The Lark’) (Glinka-Balakirev) Homochord HB2084

Marche Militaire Op. 51, D. 733 No. 1 (Schubert-Tausig) Homochord HD2147

Morceaux, Op. 49 No. 3 (Gavotte) (Glazunov) Homochord H513

Nocturne No. 4 in F, Op. 15 No. 1 (Chopin) Homochord HB 2126

Polonaise Op. 53 (Chopin) Homochord HB-2077 T5106, T5107

Prelude in B minor, Op. 28 No. 6 (Lento assai) (Chopin) Homochord HB 2082

Prelude in C-sharp minor, Op. 3 No. 2 (Rachmaninoff) Homochord HB2067

Prelude in D-flat, Op. 28 No. 15 (‘Raindrop’) (Chopin) Homochord HB2092

Prelude in F, Op. 28 No. 23 (Chopin) Homochord HD2147

Prelude in G minor, Op. 23 No. 5 (Rachmaninoff) Homochord HB2067

Soirees De Vienne Valse (Caprice D Major, Part 1), (Caprice D Major, Part 2) (Schubert-Liszt) Homochord HB-2111, HB-2111

Three Écossaises, Op. posth. 72 (Chopin) Homochord HD2147

Valse-Caprice in E-flat (Rubinstein) Homochord HB2111

Waltz in D-flat, Op. 64 No. 1 (in Thirds) (Chopin-Rosenthal-Sirota) Homochord HB 2092

 

1929-1930 Columbia recordings

Chopin Etude in G-flat major, Op. 10 No. 5 Columbia J5116 1929-11-15

Chopin Etude in G-flat major, Op. 25 No. 9 Columbia J 5116 1929-11-15

Rimsky-Korsakov Strimer Flight of the bumblebee (from The Tale of Tsar Saltan) Columbia J 5132 1929-11-15b

Yamada Poème Variation Mélancolique Columbia J 5127 M 33275, M 33276

Yamada Sie und Er No. 2 (Yamada) Allegro vivace Columbia J 5153 1929-11-15

Yamada Sie und Er No. 5 (Yamada) Lento misteriosamente Columbia J5153 1929-11-15

Yamada Theme & Variations Columbia J5184 M 33277, M 33278 1930

Stravinsky/Stravinsky: Three Movements from Petrushka Columbia J 5108/10, NE 32733-NE 32738 1929

Chopin/Sirota Waltz in D-flat major, Op. 64 No. 1 (Minute Waltz) Columbia J5116 NE 32769 1929-11-15

 

1952: St. Louis, Missouri (Radio Broadcasts)

Johann Sebastian Bach Prelude And Fugue In C Minor (WTK, Book II, No.2), BWV 871

François Couperin La Favorite, Chaconne à Deux Temps (Livre I, Ordre III)

Christoph Willibald Gluck Gavotte In A Major Iphigénie En Aulide

Wolfgang Amadeus Mozart 9 Variations On “Lison Dormait”, K264/315d

Ludwig van Beethoven 1st Mvt. Sonata In C# Minor, Op. 27-2 “Moonlight”

Johann Nepomuk Hummel Rondo Favori In E-flat Major, Op. 11

Franz Schubert Moment Musical In F Minor, Op. 94-3

Felix Mendelssohn-Bartholdy Scherzo In E Minor, Op. 16-2

Frédéric Chopin Fantasie In F Minor, Op. 49

Frédéric Chopin Écossaises, Op. 72-3

Franz Liszt Sonetto 47 Del Petrarca Années de Pèlerinage II, S.161-4

Robert Schumann Aufschwung Fantasiestücke, Op. 12

Johannes Brahms Intermezzo In B-flat Minor, Op. 117-2

Johannes Brahms Capriccio In B Minor, Op. 76-2

Sergei Vasilyevich Rachmaninoff Polka De V.R.

Chopin Ballade No. 2 in F, Op. 38

Chopin Ballade No. 4, Op. 52

Chopin Impromptu No. 2 in F-sharp, Op. 36

Chopin Mazurka No. 35 in C minor, Op. 56 No. 3

Chopin Nocturne in C Sharp Minor Op. Posth.

Chopin Nocturne No. 7 in C-sharp minor, Op. 27 No. 1

Chopin Nocturne No. 19 in E minor, Op. 72, No. 1

Chopin Scherzo No. 1 in B minor, Op. 20

Chopin Waltz in F minor, Op. 70 No. 2

Chopin Waltz No. 5 in A-flat, Op. 42 (‘Two-Four’)

Chopin Waltz No. 14 in E minor, Op. posth

 

December 3, 1963: Hibiya Public Hall, Tokyo, Japan (Radio Broadcast)

Tokyo Farewell Recital 

Scarlatti/Tausig: Sonata in D minor, K. 9 (Pastorale)

Scarlatti/Tausig: Sonata in E major, K. 20 (Capriccio)

Beethoven: Piano Sonata No. 18 in E-flat major, Op. 31 No. 3I Allegro

II Scherzo. Allegretto vivace

III Menuetto. Moderato e grazioso

IV Presto con fuoco

Schubert: Piano Sonata No. 16 in A minor, D.845 (Op. 42)

I Moderato – A minor – Alla breve

II Andante poco mosso – C major – Theme and Variations – Andante poco mosso

III Scherzo – Allegro vivace – Trio – Un poco più lento – A minor/major – Trio in F major – Allegro vivace

IV. Rondo: Allegro vivace – A minor – Rondo – Allegro vivace

Donostia: Preludios Vascos

o  6. Oñazez!

o  8. Artzai gaztearen oiuak

Stravinsky/?: Three Easy Pieces

o  2. Valse

o  3. Polka

Barber: Excursion, Op. 20 No. 4

Yamada: Poème Variation Mélancolique

Chopin: Nocturne in F-sharp major, Op. 15 No. 2

Chopin: Etude in C minor, Op. 25 No. 12

Encores:

Liszt: Hungarian Rhapsody No. 6 in D-flat major, S.244 No. 6

 

1953-1963: St. Louis, Missouri (Radio Broadcasts) 

6 Intermezzi, Op. 4 (Schumann)

Allegro de Concert, Op. 46 (Chopin)

Après une lecture du Dante – Fantasia quasi Sonata (Liszt)

Ballade No. 3 in A-flat, Op. 47 (Chopin)

Carnaval, Op. 9 (Schumann)

Concerto in A minor for four pianos, BWV 1065 (Vivaldi- J. S. Bach)

I Allegro

II Largo

III Allegro

Concerto in D minor for three pianos, BWV 1063 (J. S. Bach)

I [no tempo indication]

II Alla Siciliana

III Allegro

Eine Kleine Gigue in G, K. 574 (Mozart)

Étude in A minor, Op. 25 No. 11 (‘Winter Wind’) (Chopin)

Étude, Op. 25 No. 8 (‘Sixths’) (Chopin)

Étude, Op. 25 No. 9 (‘Butterfly’) (Chopin)

Étude, Op. 25 No. 10 (‘Octave’) (Chopin)

Étude, Op. 25 No. 12 (Chopin)

Études Symphoniques, Op. 13 (Schumann) Theme – Andante [C♯ minor], Etude I (Variation 1) – Un poco più vivo [C♯ minor], Etude II (Variation 2) – Andante [C♯ minor], Etude III – Vivace [E Major], Etude IV (Variation 3) – Allegro marcato [C♯ minor], Etude V (Variation 4) – Scherzando [C♯ minor], Etude VI (Variation 5) – Agitato [C♯ minor], Etude VII (Variation 6) – Allegro molto [E Major], Etude VIII (Variation 7) – Sempre marcatissimo [C♯ minor], Etude IX – Presto possibile [C♯ minor], Etude X (Variation 8) – Allegro con energia [C♯ minor], Etude XI (Variation 9) – Andante espressivo [G♯ minor], Etude XII (Finale) – Allegro brillante (based on Marschner’s theme) [D♭ Major]

Fantasy and Fugue ‘Ad nos, ad salutarem undam’ (Fragment) (Liszt-Busoni)

Polonaise in C-sharp minor, Op. 26 No. 1 (Chopin)

Sonata No. 1 in F-sharp minor, Op. 11 (Schumann)

I Un poco adagio – Allegro vivace (F♯ minor)

II Aria: Senza passione, ma espressivo (A major)

III Scherzo: Allegrissimo (F♯ minor) – Intermezzo: Lento. Alla burla, ma pomposo (D major) – Tempo I

IV Finale: Allegro un poco maestoso (F♯ minor, ending in the tonic major)

Sonata No. 2 in G minor, Op. 22 (Schumann)

I: So rasch wie möglich (“As quickly as possible” — however, near the end, Schumann writes “Schneller” and then “Noch schneller”, meaning “Faster” and “Still faster”)

II: Andantino. Getragen (Solemn/Dignified)

III: Scherzo. Sehr rasch und markiert (Very quick and marked)

IV: Rondo. Presto possible, Prestissimo, quasi cadenza

Sonata No. 3 in B minor, Op. 58 (Schumann)

I: Allegro maestoso (B minor → B major)

II: Scherzo: Molto vivace (E♭ major → B major → E♭ major)

III: Largo (B major → E major → B major)

IV: Finale: Presto non tanto (B minor → B major)

Three Poemes Musicales (dedicated to Sirota) (piano Mrs. Leila Chamberlan Dean) ( Chamberlan Dean)

Poeme I

Poeme II

Poeme III

Trois Nouvelles Etudes, B. 130 No. 1 in F minor (Chopin)

Trois Nouvelles Études, B. 130 No. 2 in A-flat (Chopin)

Trois Nouvelles Etudes, B. 130 No. 3 in D flat (Chopin)