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DESCRIPTION : Up for auction is an ORIGINAL hand signed AUTOGRAPH SENTIMENT - AUTOGRAMME ( With a fountain pen ) of the renowned JEWISH PIANIST , COMPOSER and CONDUCTOR of RUSSIAN descent , The CHILD PROGIDY - IDA HAENDEL . The SP SIGNED PHOTO is an ORIGINAL PHOTO .The size of ORIGINAL PHOTO is around 5.5 x 3.5 " .Very good condition ( Pls look at scan for accurate AS IS images ) Authenticity guaranteed. Will be sent inside a protective rigid packaging .

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Issay Alexandrovich Dobrowen (Russian: Исай Александрович Добровейн; 27 February [O.S. 15 February] 1891 in Nizhny Novgorod, Russian Empire – 9 December 1953, Oslo, Norway), born Itschok Zorachovitch Barabeitchik, was a Russian/Soviet-Norwegian pianist, composer and conductor.[1] He left the Soviet Union in 1922 and became a Norwegian citizen in 1929. Contents 1 Biography 2 Compositions 3 References 4 External links Biography He studied at the Moscow Conservatory, his teachers including Konstantin Igumnov and Sergei Taneyev, graduating with a gold medal.[2] He taught from 1917–1921 at the Moscow Philharmonic Conservatory.[2] He once played Beethoven's Sonata Appassionata for Vladimir Lenin, this sonata being the revolutionary's favorite piece of music. Dobrowen directed the first German performance of Mussorgsky's Boris Godunov (Dresden, 1922). Dobrowen went on to conduct the Oslo Philharmonic orchestra (1928–31), at the Sofia Opera (1927–28), and the San Francisco Symphony (1931–34) and the Gothenburg Symphony (1941–53) orchestras. Dobrowen worked with both Nikolai Medtner and Artur Schnabel, among other well-known musicians. He was also a close friend of the Russian writer Maxim Gorky, and the Norwegian explorer Fridtjof Nansen. He conducted his last concert with the Oslo Philharmonic in December 1952. His last concert was held on 19 January 1953, when he conducted the Stuttgart Orchestra. He died 9 December 1953 in Oslo at the age of 62. Compositions He wrote piano music reminiscent of Sergei Rachmaninoff. Interest in Dobrowen as a composer has started to increase, thanks to a small number of new recording projects, involving the editing and collation of orchestral parts for his Piano Concerto in C♯ minor, Op. 20,[3] which he himself played in a number of countries. As well as the concerto, whose style and orchestration recall Medtner, Rachmaninoff and Alexander Scriabin, three of his piano sonatas and a violin sonata have also appeared on disc in recent times. ***** Dobrowen, Issay Issay Dobrowen (1891-1953) Itschok Zorachovitsj Barabejtsjik was born in Nizhnij-Novgorod in Russia on 15 (27) February 1891 of Jewish parents. His father, Zorach, played in a small orchestra which performed in theatres, at weddings and at the market - anywhere where there was money to be earned. In this way he was just about able to provide for his wife, two daughters and son. But when son number two, Itschok, was born, they saw no other option but to give him up for adoption. Itschok's mother's stepfather took the matter in hand and Itschok's surname was changed to Dobrovel, his maternal grandfather's family name. During his years as a student his name was changed again, to Isaj Dobrovejn (this form is still used in Russia), and following his emigration in 1922 assumed its final, Western variant: Issay Dobrowen. Dobrowen's musical talents were developed at an unusually early age. Only four years old he played the piano in public in his home town for the first time. The acclaimed pianist David Shor was by chance in Nizhnij-Novgorod in 1901 and his attention was drawn to the young musician. Shor secured Dobrowen a free place at the Moscow Concervatory, despite the limits dictated by the'Jewish quota' at the time. At the conservatory he studied piano with Jarosjevskij and composition with Tanejev, and from 1906 was a student in Igumnov's piano class. Dobrowen was soon known as one of the best piano students at the conservatory, and for his examination in 1911 he was awarded a gold medal. The following term it was decided that he should travel to Vienna to continue his studies with the already legendary pianist Leopold Godowsky. Dobrowen did not manage to settle down in Vienna, however, and less than a year later he moved on to Paris. Here he met a childhood friend, Maxim Gorkij. Dobrowen quickly became part of the group of Russian exiles, but after only half a year his homesickness grew too much and he headed back to Moscow. During the subsequent years Dobrowen was very active as a pianist, with frequent performances as soloist, accompanist, and as a member of chamber music groups. He appeared as soloist with conductors including Koussevitzky and Malko, he played trio with Piatigorsky and Mischakoff (who later became leader of Toscanini's NBC Symphony Orchestra) and accompanied his friend Sjaljapin on several occasions. Ever since childhood he had composed - an activity which intensified during this present period, resulting in a number of smaller works. It was however the theatre which throughout his life was Dobrowen's great passion; he spent many hours in the wings at Stanislavskij's famous Artists theatre, where Tsjekhov only a few years earlier had worked. Here he was given the chance to compose music for the stage at will, and he frequently played the piano at performances. After some years abroad Maxim Gorkij moved back to Russia in 1914, and the two friends were able to resume their friendship. It was while visiting Gorkij in 1920 that Dobrowen played Beethoven's Appassionata to an entranced Lenin - an event the new regime exploited for all it was worth. In 1963 a film was made in which this encounter played a central part. Even today one can come across relatively young people in Russia who know the story of the encounter in detail, without associating Dobrowen's name with anything else. Later in his life Dobrowen distanced himself from Bolshevism; it is an ironic twist of fate that it is for this one encounter his name is remembered in his homeland. Few conducting careers have escalated more rapidly than Dobrowen's during its first years. In 1918 he conducted an orchestra for the very first time. Tales of Hofmann was to be performed at Kaommisarzhevskij's theatre Son, and Dobrowen was given the honour of leading. One year later he led the ensemble at the Bolshoi theatre in a performance of Boris Godunov with Sjaljapin in the leading role. Following this production he was engaged as conductor at the theatre - Russia's most prestigious opera venue. In 1916 Dobrowen married Maria Ruperti, the daughter of a wealthy businessman of German descent. Their respective family backgrounds, though very different in many respects, were the many reason they both felt uneasy about staying in Russia under the new government. When in 1922 the Bolshoi theatre refused to renew his contract (the circumstances of this are unclear), Dobrowen made the decision to move for good to Dresden with his wife and two small children. Little did he know at the time that that would be the last time he would ever see the fatherland, and that it was far from the last time he would have to move due to political unrest. In Dresden a new phase of Dobrowen's life began. At the time Fritz Busch was preparing the German premiere of Mussorgskij's Boris Godunov at the Semper opera and Dobrowen, who had recently conducted the work in Moscow, offered his assistance. Busch was so impressed by the young man's talent that he immediately gave him responsibilty for staging the opera. It ended up with Dobrowen taking over the entire production - after Busch himself had conducted the opening night - and ensuring one of the greatest box-offices successes in the theatre's histore. Suddenly Dobrowen's was a name on everybody's lips, and offers of work came from all over Europe. During the years that followed Dobrowen fulfilled many conducting engagements, both guest performances and more permanent contracts, and was also still an active pianist. However he had increasingly less time to play as his conducting career took gradually more of his time. The same applied to his composing. He was offered guest conductor engagements at the most prestigious orchestras, including the Berlin Philharmonic, the Vienna Philharmonic, the Gewandhaus Orchestra in Leipzig and the Staatskapelle in Dresden. From 1924 he has engaged on a regular basis by the Berliner Volksoper; for the 1927/28 season he was principal conductor of the opera in Sofia, from 1928 in Oslo, and from 1930 in San Francisco - while remaining based in Dresden. The situation changed in Germany during the 1930s, however, and the family understood that they could not stay in Germany for much longer. For many years the Dobrowen family had had a 'Nansen passport', which gave them the freedom to travel virtually wherever they wanted in Europe. They were however required to apply for a visa each time they wanted to visit a foreign country - a time-consuming process. When Dobrowen accepted an engagement in Oslo 1928 they found it highly impractical, and with the help of Nansen the whole family were given Norwegian citizenship that same year. Norway seemed therefore a natural choice when the family decided to move, and so in 1934 they settled in Oslo. It did not take many years before the otherwise so peaceable Norway proved to be a dangerous place to stay. In 1940 Norway was invaded and the Dobrowen family were once again forced to flee - this time to Sweden. From 1941-45 Dobrowen worked with Swedish orchestras only. At the Royal Theatre in Stockholm he had the chance to stage a number of operas for which he had responsibility both for the stage production and for the music. Ever since his debut as an opera director in 1922 he had regularly had such responsibilities - for example in Dresden, Berlin, Budapest and Oslo - with excellent results. Russian opera was not surprisingly his speciality, but also works from the standard repertoire in western Europe were tackled with similar uncompromising thoroughness. Certain productions in Sweden were followed with great interest by the young Ingmar Bergman who tells that Dobrowen's productions made a lasting impression. After the war Dobrowen was able to resume his international career. he continued to live and work in Sweden, but was constantly travelling. When Walter Legge founded the Philharmonia Orchestra in London in 1945 Dobrowen was engaged to make a series of recordings with them. From 1946-52 he recorded over twenty hours of music for HMV. A large number of these recordings have been transferred to CD and are considered classics of the recorded repertoire. In addition to concerts and recordings he continued to stage operas - productions in which he had responsibility for stage direction, scenography and the music - even at the most prestigious venues such as Covent Garden and La Scala. During the last years of his life he shared the position of director of music with Furtwängler, de Sabata and Karajan. Before he died in 1953 at the age of 62, Dobrowen finished a complete recording of Boris Godunov in Paris - an opera that had accompanied him throughout his career, and a work he knew better than any other. This recording is a fitting monument to an artist's life which ended all too soon. Dobrowen's compositions have for many years remained little known to the general public. His list of works consists of twenty opuses and includes a violin sonata, a piano concerto, lieder, and a number of larger and smaller pieces for violin and piano. In addition there are manuscripts of stage music, film music and songs for male choir. Op. 1-11 and 13-14 were first published in Moscow; Op. 6-11 and 13-14 were later published bu Universal Edition in Vienna. Op. 5b, 12, 15-17 and 20 were published in Vienna only, and Op. 1-5a in Moscow only. Op. 18 and 19 are missing. In the years prior to his emigration Dobrowen composed diligently; both the violin sonata and the two first piano sonatas were written in Russia. After the family moved to Dresden and his conducting career gained momentum there was increasingly less time in which to compose. It was only during the summer holiday he found the necessary peace and quiet for composing, and even this did not last long. His first four summers in Germany were to be his final period of composing. After the completion of the piano concerto in 1926 he produced no more works. He continued for some years to perform the piano concerto, the violin sonata and certain other of his compositions, but this too came to an end. In 1932 he conducted his piano concerto for the last time, and since he did not actively seek to have his music played by others, his music was no longer performed. As he grew older he stopped talking about his music all together. It was as if it never had existed. Jørn Fossheim (Translation by Andrew Smith) ***** Исай Добровейн - Из мрака забвения Орлов Ярослав [12 июня 2001] Достижения Исая Александровича Добровейна - дирижера, пианиста, композитора и оперного режиссера постановщика поизводит не только глубокое впечатление, но и является частью мировой музыкальной истории. Исай Добровейн родился в 1891 году в России в Нижнем Новгороде. Новгороде в бедной еврейской семье. Скончался Добровейн в 1953 г. в Осло, где и похоронен. Исай Добровейн был современником Сергея Прокофьева. Его игрой на рояле восхищался Ленин. Максим Горький и легендарный главный дирижер берлинского Филармонического оркестра Вильгельм Фурвенглер были его друзьями. Исай Добровейн был одним из основателем Лондонского филармонического оркестра. С 1927 года по 1931 год Исай Добровейн был главным дирижером филармонического оркестра г. Осло. В 1929 году он получил Норвежское подданство и в 1934 году вместе с семьёй поселился в Норвегии. Исай Добровейн внес значительный вклад в дело распространения норвежской музыки за границей. Его усилия в этой области в настоящее время почти забыты, но наконец настало время обратить внимание на деятельность Исая Добровейна - композитора, пианиста, дирижера. Добровейн с ранних лет испытывал сильное влечение к норвежскому искусству. Неоспоримым героем Добровейна был норвежский исследователь Арктики и всемирно известный гуманист Фритьоф Нансен. Добровейн зачитывался его рассказами о ледяных пустынях Арктики и о приключениях на борту полярного судна "Фрам". Близкий друг Добровейна Максим Горький установил контакт с Нансеном еще в 1917 году в связи с проектов писателя по изданию детской литературы. Возникшей в то время переписка между Нансеном и Горьким продолжалась. В 1920 году Нансен, узнав об ухудшении здоровья Горького пригласил его в Норвегию для восстановления здоровья. Не исключено, что дружба Горького с Нансеном оказала влияние на выбор Норвегии в качестве его новой родины. Начиная с 1922 года когда Добровейн покинул Россию он в своих поездках по Европе пользовался так называемым "нансоновским" паспортом. В 1929 году, когда Добровейн жил в Германии Нансен помог ему стать гражданином Норвегии. Между ними возникла настоящая дружба. Их первая встреча произошла в 1928 году в Осло после доклада Нансена в "географическом обществе". Нансен стал часто посещать концерты филарманического оркестра Осло и через некоторое время ввел Добровейна в группу выдающихся представителей Норвежской культуры и искусства. Эта группа известна под названием "Кружок Люсакерского". В нем Добровейн познакомился с известным норвежском художником Эриком Вереншнльдом, который в последствии написал его портрет, который к несчастью, пока не удалось обнаружить. О своём общении с Нансеном Добровейн говорил: В последние дни Нансена я часто был у него. В 1929 году в одном из его писем к Горькому Добровейн пишет, что навещает иногда Нансена и упоминает о том, с какой теплотой он неизменно он отзывается о Горьком. У Добровейна была сравнивать своих ближайших друзей с Максимом Горьким. Добровейн находит в характере Нансена и Горького общие черты, о чем он и сообщает своему другу и великому русскому писателю. В 1927 году, когда Добровейн прибыл в Норвегию, он был уже широко известный, признанный дирижер, сделавший блестящую карьеру. Своё музыкальное образование он получил в стенах Московского консерватории, поступив в неё в девятилетнем возрасте. В 26 лет он уже стал профессором. Двумя годами позже, он уже выступал в Большом театре. В 1920 году от там же дирижировал оперой Мусорского "Борис Годунов", главную роль в котором играл Федор Шаляпин. В детстве Добровейну пришлось испытать на себе унижения и нужду. Эти обстоятельстве не могли не вызвать у впечатлительного молодого человека сочувственного отношения к идеям Ленина о создании такого общественного устройства, которое навсегда установило социальные и иные различия между людьми, покончило с нищетой. Вполне возможно, что Ленин и Добровейн познакомились еще в 1912 году в Париже на одном из концертов Добровейна. Позднее Горький в своих воспоминаниях "В.И Ленин" пишет: - Как-то вечером в Москве, на квартире Е.П. Пешкова (Горького), Ленин, слушая сонаты Бетховена в исполнении Добровейна, сказал: - Ничего не знаю "Аппассианата", готов слушать её каждый день. Изумительная, нечеловеческая музыка. В 1963 году, используя описанный эпизод, на киностудии "Мосфильм" был сделан фильм, темой которой стала встреча между Лениным, Горьким и Добровейном. Добровейн покинул Россию в 1922 году, разочарованный в Советской власти и ущемленный интригами коллег в Большом театре. Позже, был приглашен директором Дрезденской Государственной Оперы Фрицем Бушем в качестве второго дирижера для постановки первой немецкой оперы Мусорского "Борис Годунов". В 1924 году по приглашению Фуртвенглара Добровейн руководил Берлинским Филармоническим оркестром, а позднее был назначен музыкальным руководителем Венской Народной оперы и Софийского оперного театра. Во время сезона 1927-1928гг. Добровейн был также музыкальным руководителем Будапештской Оперы. Первое выступление Добровейна в Скандинавии состоялось в 1925 году в Стокгольме, где но дирижировал 2-ым Фортепьянным концертом Прокофьева. В роли солиста выступал сам автор. Назначение Добровейна главным дирижером Филармонического оркестра в Осло в 1927 году было встречено с большим энтузиазмом, который можно сравнить с энтузиазмом, выпавший на долю Марисса Янсона много лет спустя. В обязанности Добровейна так же входило приглашение в Норвегию выдающихся мастеров искусств. В связи с этим в Осло прибыли Рахманинов в 1928 году, Стравинский в 1934 и 1935 гг., Горовиц в 1934 и 1935 гг., Мельштейн в 1934 году. Во время театральных сезонов 1930 -1931 и 1931 - 1932 гг., Добровейн был музыкальным руководителем Симфонического оркестра города Сан-Франциско. Он был постоянным дирижером Филармонического оркестра в 1932- 1935 гг. И кроме того, ездил на гастроли, дирижируя Филармоническим оркестром Нью-Йорка и Сан-Франциско. Одним кульминационных моментов в деятельности Добровейна было дирижирование 3-им Фортепьянным концертом Рахманинова в Нью-Йорке в феврале 1932 года. За роялем сидел сам композитор. Когда Бронислав Губерман основал Палестинский Симфонический оркестр (позднее Израильский оркестр) в 1936 году, дирижерами были избраны Добровейн и Тосканини. Германия оккупировала Норвегию в 1940 году и Добровейну пришлось снова переселяться, на сей раз в Швецию, где он стал главным дирижером Гетеборгского Симфонического оркестра, а так же дирижером и музыкальным руководителем Стокгольмской Оперы. После окончания войны он принял участие в основании Лондонского Филармонического оркестра, с которым впоследствии сделал много грамзаписей. Добровейн дирижировал свой последний концерт с Филармоническим оркестром Осло в декабре 1952 года за год до кончины. Его последний концерт состоялся 19 января 1953 года, когда он дирижировал Штутгартским оркестром. **** Issay Dobrowen Brødsmulesti Store norske leksikon Kunst og estetikk Musikk Klassisk musikk Norske dirigenter Innhold Artikkelstart Bakgrunn og utdannelse Karriere Dresden og Berlin Oslo Internasjonal gjestedirigent Innspillinger Komponist Les mer i Store norske leksikon SKREVET AV Trond Olav Svendsen FaktaboksISSAY DOBROWEN Issay Alexandrovitsj Dobrowen, døpenavn: Itschok Zorachovitsj Barabeitsjik UTTALE dåbråvˈen FØDT 27. februar 1894, Nizjnij Novgorod, Russland DØD 9. desember 1953, Oslo Zoom innIssay Dobrowen, 1938 Issay Dobrowen, 1938 Av Atelier Frans Hals/Oslo museum/digitaltmuseum. Lisens: CC BY SA 3.0 Artikkelstart Issay Dobrowen, russisk-norsk dirigent, pianist, komponist og operaregissør. Dobrowen huskes særlig som sjefdirigent for Oslo-Filharmonien, som en ettertraktet gjestedirigent i Europa og USA og som en forkjemper for russisk opera. Dobrowen ble som barn adoptert av en familie som var inngiftet i slekten, og han fikk da etternavnet Dobrowel. Da han utvandret fra Russland i 1922, 28 år gammel, tok han navnet Issay Dobrowen. Bakgrunn og utdannelse Dobrowen kom fra en jødisk familie i Nizjnij Novgorod. Han var et musikalsk vidunderbarn og skal ha opptrådt som pianist første gang som fireåring. Som tiåring ble han oppdaget av pianisten David Sjor og fikk studieplass ved Musikkonservatoriet i Moskva. Her studerte han klaver med Konstantin Igumnov og komposisjon og teori med Sergej Tanejev. Dobrowen utmerket seg og fikk Konservatoriets gullmedalje i 1911. Han fikk reise til Wien, hvor han studerte videre med Leopold Godowsky ved Akademie für Musik und darstellende Kunst. Han bodde en tid i Paris, hvor han tilhørte eksilmiljøet rundt forfatteren Maksim Gorkij. Karriere Zoom innIssay Dobrowen Foto 1932. Issay Dobrowen Av Ukjent/Nasjonalbiblioteket. Lisens: CC PD Dobrowen reiste hjem til Moskva og virket her først som pianist. Han spilte i en klavertrio med Misja Misjakov og Gregor Piatigorsky, og akkompagnerte den berømte sangeren Fjodor Sjaljapin. Han var en tid engasjert hos Konstantin Stanislavskij ved Moskva kunstnerteater og underviste ved Konservatoriet i Moskva. I 1918 gjorde han sin debut som dirigent. Han fikk oppgaver ved Bolsjoj, og i 1919 ledet han forestillinger her av Boris Godunov av Modest Musorgskij. Ifølge en ofte gjengitt anekdote skal Dobrowen ha spilt for Vladimir Lenin i Gorkijs hjem i Moskva. På programmet stod Ludwig van Beethovens klaversonate Appassionata, som visstnok var en av Lenins favoritter. Dresden og Berlin I 1922 utvandret Dobrowen med sin familie og bosatte seg i Dresden, og her la han grunnlaget for en betydelig karriere. Fritz Busch inviterte ham til å lede forestillinger ved Operaen i Dresden. Han markerte seg som en forkjemper for Modest Musorgskij, og var både regissør og dirigent for en oppsetning av operaen Khovansjtjsina i Dresden. I Berlin satte han opp Musorgskijs siste opera Markedet i Sorotsjintsy. Han gjestet ved flere ledende orkestre, som Berlinfilharmonien, Gewandhaus-orkesteret og Wienerfilharmonien. Oslo Det ble mottatt som en begivenhet da Issay Dobrowen ble sjefdirigent i 1927–1931 for Oslo-Filharmonien etter José Eibenschütz og Georg Schnéevoigt. Den kjente fiolinisten Max Rostal ble samtidig konsertmester — han ble etter én sesong avløst av den like betydningsfulle Ernst Glaser. Dobrowen arbeidet for å heve orkesterets status og sikre dets plass i det norske kulturlivet gjennom en tid med knugende økonomisk depresjon. Han ble norsk statsborger i 1929. Dobrowen dirigerte de tysk-østerrikske klassikerne som Ludvig van Beethoven, Richard Wagner og Johannes Brahms. Han dirigerte ofte verker av samtidskomponister, blant annet norske som Passacaglia av Ludvig Irgens-Jensen, Voluspå av David Monrad Johansen og symfoni nr. 2 av Harald Sæverud. En særlig innsats gjorde han for sine russiske landsmenn ved blant annet å introdusere Pulcinella og Petrusjka av Igor Stravinskij, verker av Sergej Prokofjev og Nikolaj Mjaskovskij, og den stort anlagte symfoni nr. 3 av Aleksandr Skrjabin. Dobrowen var i økende grad etterspurt i Storbritannia og USA, noe som førte til konflikter. I 1931 gikk han av som sjefdirigent. Olav Kielland og Odd Grüner-Hegge overtok. Avskjedskonserten i april 1932 var en beveget anledning med kong Haakon tilstede. Dobrowen hadde bopel i Oslo og var regelmessig tilbake som gjestedirigent ved Oslo-Filharmonien i 1930-årene. Filharmonisk Selskaps Orkester i Universitetets aula, ca. 1930 Issay Dobrowen med Filharmonisk Selskaps Orkester (senere Oslo-Filharmonien) på podiet i Universitetets aula. Konsertmester er Ernst Glaser. Bildet er tatt cirka 1930. Filharmonisk Selskaps Orkester i Universitetets aula, ca. 1930 Av Narve Skarpmoen/Oslo museum/digitaltmuseum. Lisens: CC BY SA 3.0 Internasjonal gjestedirigent I 1930–1934 ledet Dobrowen San Francisco symfoniorkester i en oppbyggingsfase, og fra 1935 var han fast dirigent ved Residensorkesteret i Haag og ved Operaen i Budapest. I 1937 gjestet han Palestina Symfoniorkester, det senere Israel Filharmoniske Orkester. Etter den tyske invasjonen av Norge i 1940 flyktet Dobrowen med sin familie til Sverige. Han ble sjefdirigent for Göteborgs Symfoniker i 1941 og beholdt denne stillingen til sin død. Dobrowen ble fast gjestedirigent på Kungliga Operan i Stockholm. Han innledet sitt engasjement i november 1941 som både dirigent og regissør for sverigepremieren på Khovansjtjsina av Musorgskij. Han dirigerte og satte i scene Musorgskijs Boris Godunov og Pjotr Tsjajkovskijs Eugen Onegin i 1943. Han ledet også forestillinger av russiske balletter, blant annet Petrusjka med musikk av Igor Stravinskij. Etter krigen ledet han operaforestillinger, som oftest av russisk repertoar, på Covent Garden-operaen i London og på La Scala i Milano. Dobrowen døde av kreft i Oslo i 1953 og er gravlagt på Vår Frelsers gravlund. Innspillinger Dobrowen gjorde en rekke plateinnspillinger med Philharmonia Orchestra, som var etablert av Walter Legge i London i 1945. Her samarbeidet han med berømte solister som Artur Schnabel, Solomon og Kirsten Flagstad. I 1952 ledet han en innspilling av Boris Godunov for selskapet His Master’s Voice med Det Nasjonale Kringkastingsorkesteret i Paris og med Boris Christoff i tittelrollen. Komponist Issay Dobrowen komponerte et tyvetalls verker. Av de større verkene bør nevnes en fiolinsonate, tre klaversonater og en stort anlagt klaverkonsert i ciss-moll. Stilmessig bygger Dobrowen på senromantikken, og han har vært sammenlignet med Sergej Rachmaninov. Musikken har i senere år vakt ny interesse, blant annet har den norske dirigenten og pianisten Jørn Fossheim stått for konserter og spilt inn klaverkonserten og klaversonatene. ***** ISSAY DOBROWEN Issay Alexandrovich Dobrowen (Russian: Исай Александрович Добровейн; 27 February [O.S. 15 February] 1891 in Nizhny Novgorod, Russian Empire – 9 December 1953, Oslo, Norway), born Itschok Zorachovitch Barabeitchik, was a Russian/Soviet-Norwegian pianist, composer and conductor. Read more on Wikipedia Since 2007, the English Wikipedia page of Issay Dobrowen has received more than 30,512 page views. His biography is available in 15 different languages on Wikipedia. Issay Dobrowen is the 1,249th most popular musician (down from 1,139th in 2019), the 1,604th most popular biography from Russia (down from 1,371st in 2019) and the 23rd most popular Musician. ebay5908 folder 200