Horacio Parravicini, flute
Eduardo Cazaban, piano

from the CD “Easterly Winds”


Tsybin studied flute and composition at the Moscow Conservatory under, amongst others, Glazunov and Liadov. He was solo flute at both Bolshoi and Mariinsky Theaters and taught at the St.Petersburg and Moscow Conservatories. He was often referred to as the “Russian Andersen”, on a par with Denmark’s Joachim Andersen, who was to become solo flute of the Berlin Philharmonic and was also a prolific composer for the instrument.

The ALLEGRO CONCERTANTE No.1 in A minor, similarly to Nos.2 and 3, was composed in 1946. Tsybin was, at this time, already retired from concert activity but continued teaching at the Moscow Conservatory.
These works were composed with teaching in mind, in the same manner as those works composed by Andersen and Boehm. They have remained as mandatory repertoire in the Leningrad and Moscow Conservatories for over 50 years. However, outside Russia, they are almost unknown.

Anton Rubinstein, Night-time (Romanza) Op.44 No.1

Horacio Parravicini​​, flute
Eduardo Cazaban, piano

From CD “Easterly Winds”


Rubinstein studied in Paris and Berlin. In 1862 he founded the St.Petersburg Conservatory, Russia’s first school of music, thus paving the way for Russia as a musical power. He was a great virtuoso pianist and his popularity was said only to have been equaled by that of Franz Liszt.
His compositional style was devoid of any nationalist aesthetic traits, but these proved to be only of an inspirational nature for his music and thematic material for his operas. He regarded himself as within the most conservative of European traditions. This may explain why his works, although played by artists of the stature of Liszt, Mahler, Saint-Saëns and Brahms, after his death and during the communist regime, were almost forgotten.
The work’s original title was Soirées de Saint-Pétersbourg, and composed in 1860, is made up of six pieces for piano solo. One of them, the Romanza, was later arranged for voice and piano on a poem by Pushkin and was given the name Noc (Night-time). The transcription for flute is by Joanna Krakowska and is amongst a series of works published by a Polish editor under the title “Miniatures for flute”.


Thank you to my dear friend and colleague JEAN-MICHEL TANGUY, Professor at Hochschule für Musik und Darstellende Kunst Mannheim; International soloist; former soloist of the Beethoven Halle Bonn Orchestra, The Rotterdam Orchestra, The Belgium National Orchestra; former Professor of the Brussels Royal Conservatory for posting this beautiful review of my CD.

Very impressed by this French Recital played so beautifully by Horacio Parravicini.

The choice of the pieces, the wonderful warm and varied vibrato, the technical clarity and elegance of style and the noble phrasing, the quality of articulation and intonation, in general such a control in changing colours and good taste, when needed such a generous well centered tone, makes this CD a real piece of art and masterpiece, shows how to play such a French Recital on the flute.

The Bilbao symphony orchestra can be proud to possess such an exceptional and outrange principal flute, and for me such a new prestigious colleague and friend!