24th April 2026<\/p>\n\n\n\n
Well Graham, although I\u2019ve now heard a number of Kashperova\u2019s works, read your book, heard you speak on the radio and so on, I have still been very intrigued about <\/strong>how <\/em><\/strong>you actually came across her music. It could be very useful information for others searching for lost composers. I know that you\u2019re a Stravinsky scholar and a pianist, so it would make sense that you took an interest in the composer\u2019s piano teacher. But when you went to Russia to research Kashperova, did you have any idea at all that she composed?<\/strong><\/p>\n\n\n\n No, I didn\u2019t.<\/p>\n\n\n\n None at all? Wow.<\/strong><\/p>\n\n\n\n Well, I had included quite a consideration when working on my doctoral thesis at Oxford between 2005 and 2008 \u2013 that\u2019s when I first put my thoughts to Kashperova. In Stravinsky\u2019s autobiography he refers to her but not by name \u2013 you get an idea that she exists but you\u2019ve no idea who this person is. I thought he was pretty mean about that, but I realised later that he was being very considerate. This was in the 1930s, the time of the Stalin purges, and it would have seriously endangered her, and possibly her life. As you know, he was no fan of the Soviet Union whatsoever and there was a mutual distrust and dislike. So I think he very cautiously talked about those early years without really going into any great detail or mentioning names. Later in life he did, and what provoked me a little bit was the great study by Richard Taruskin, the two-volume epic study (Stravinsky and the Russian Traditions<\/em>) that he wrote, where he actually mentions Kashperova and rather dismisses (there\u2019s no other word for it) the rumour that she might have written a symphony. This was the implication \u2013 a piano teacher writing a symphony? Completely impossible, surely not.<\/p>\n\n\n\n For my part, I\u2019ve always retained a sentimental affection for my very first piano teacher, and I dedicated my first book (Stravinsky\u2019s Piano: Genesis of a Musical Language<\/em>) to her, for setting me on the road to music from the age of six. So I think I felt a little bit personally affronted by that rather haughty dismissal that a piano teacher could not possibly write a symphony. So after that book was published I went to Russia myself, liberated after having done six years of DPhil at Oxford and another four years turning that into a book for Cambridge University Press. I thought I\u2019d give myself a little holiday, go to St. Petersburg, and put Stravinsky into his context. That was my first instinct.<\/p>\n\n\n\n On the very first morning I had booked an interview with the Director of the St. Petersburg State Conservatoire. As I waited for the interview and conversation, I popped into the conservatoire library and asked them if they had anything by Kashperova \u2013 I just wanted to know if she had composed anything. Nobody there had ever heard of her at all, and they were obviously convinced that I was a completely misguided and misinformed foreign visitor, asking about somebody they\u2019d literally never heard of. But I asked them to have a little look, and they came back in a couple of minutes with the symphony that had been published. In that one second I thought, \u2018take that, all ye Doubting Thomases! Kashperova did <\/em>write a symphony\u2019.<\/p>\n\n\n\n I learned that the librarians in Russia are enormously well-informed and they\u2019re in post for life. There\u2019s a lovely librarian in Kostroma, the next city to Leokadiya\u2019s hometown, Yaroslavl (Kashperova lived in Kostroma in the winter months with her family). The librarian is in her 80s, and still goes in to work every single day. She\u2019s been working there for over 50 years \u2013 never retired, never wants to retire, and absolutely dedicated to her work. In my decade of travelling around Russia I got to love librarians and archivists. They\u2019re the most wonderful people \u2013 enormously knowledgeable and extremely generous with their time and knowledge. They\u2019ll keep on researching things long after you\u2019ve left, and suddenly you get an email saying that they\u2019ve been reading this and they\u2019ve found this… Unbelievable.<\/p>\n\n\n\n In the whole exciting revival of music by women composers that\u2019s going at full pace, it\u2019s often debated or discussed that women, whatever their great creative talents, very rarely had the opportunity to write for the major genres. Symphonies are the prime example. They were restricted by the publishers, the market, their own families, and were limited to writing short miniatures or at best chamber music. It was considered an absolutely unattainable goal for a woman to have completed a symphony. Kashperova only had the one chance. Just think, if we had to live with Tchaikovsky\u2019s first symphony and nothing else, we would certainly recognise his abilities but we would feel like we\u2019d missed out on a hell of a lot not having the second, third, fourth, fifth, and sixth. Being a woman she had one chance, that was Kashperova\u2019s reality, and although the symphony was very well received in Russia, it was her one and only chance. If she had been a man she would have composed a symphony every year of her life, no doubt about it, and the same with the Piano Concerto, which is absolutely fabulous. She would have written five at least and performed them all.<\/p>\n\n\n\n So when you first came across Kashperova\u2019s music, how could you tell that the music was of such great quality? What features jumped out at you?<\/strong><\/p>\n\n\n\n This is an interesting one, because there is obviously the music itself. I knew it was special from the moment I held that symphony in my hands… I am a conductor with many years experience of holding scores. I can read them and know what they sound like. I started reading her score and hearing it in my head \u2013 that slow introduction with that extremely high, expressive violin writing. \u2018Wow,\u2019 I thought, \u2018this is quality\u2019. Then I had to go to the interview and the moment was gone, but eventually I got permission to take away an authorised photocopy, rubber stamped by the conservatoire library for my own study. For many years there were no thoughts of publishing it or telling anyone about it. In fact, until 2017 this was an entirely personal, secretive little research project that I was doing for my own amusement, really.<\/p>\n\n\n\n However, in 2017 BBC Radio 3 announced a project in association with the Arts and Humanities Research Council (AHRC) \u2013 they wanted to highlight Five Forgotten Female Composers and they were opening the door for people to propose which ones they should feature. This was very recent, but in those days there was no great energy worldwide for women composers. I think they had five musicologists, each speaking about a forgotten female composer. One or two of them had literally picked something off the shelf that morning, basically, but I arrived at the BBC and spoke about my work over many years with Kashperova. If you can believe it, there were about 60 BBC producers in the room. It was an extraordinary event, and I stood underneath a huge portrait of Lord Reith expanding about her. They gave me ten minutes to talk (which was difficult because my lectures at City university were three hours long!) and the people at the back were showing me the fingers in typical BBC fashion: it was nine minutes, now it was eight, now seven etc.<\/p>\n\n\n\n After I spoke for ten minutes exactly, I introduced a performance of the first movement of her Cello Sonata in G major, played most beautifully by Yoanna Prodanova and Laura Roberts from the Guildhall School of Music. When they came to question time, in the front row of the audience before any of the BBC producers had the opportunity to come up with their questions, John Minch (the now retired Chief Executive of Boosey and Hawkes) stood up, reached out and grabbed the microphone immediately, and said, \u2018Ladies and Gentlemen, Kashperova\u2019s music can no longer remain in biscuit tins under Graham\u2019s bed\u2019.<\/p>\n\n\n\n I love that! Yes, I think the quality of Kashperova\u2019s music really does hit you immediately. So often music can take time to grow on you, but straightaway it sounded to me like hers had a place beside the Tchaikovsky symphonies.<\/strong><\/p>\n\n\n\n That\u2019s absolutely right. It was wonderful to read the comments that were written in Gramophone <\/em>and BBC Music Magazine<\/em>.[1] It says that this music is not just a curiosity \u2013 this is absolutely top notch. It must <\/em>be in the repertoire because it\u2019s so good.<\/p>\n\n\n\n As I said, holding that score was like a miraculous moment. The greatest musicological authority on the planet had dismissed the very possibility of Kashperova, a piano teacher, writing a symphony. But here I was, not only holding the published <\/em>symphony in my hands, but also realising in a few seconds that this was a very fine and beautiful piece of music. That was the start, the music spoke for itself, but the other thing that accompanied this feeling was a realisation that although it was understandable, being British, that I\u2019d never heard of Kashperova, nobody in Russia had ever heard of her either! How extraordinary is this?<\/p>\n\n\n\n So the very next morning, if not that afternoon, I hotfooted it to the Russian National Library in St. Petersburg. All this time I was struggling to learn the Russian language, of course, and I travelled around with my little pocket dictionary and notebook. My conversation with archivists became very fluent, but ordering a meal in a restaurant or a cup of coffee was a big struggle, I\u2019ll tell you that! I went to the Russian National Library and nobody there had heard of her either. Over a number of days, I literally went through all the available musical dictionaries and encyclopaedias that I could find (and there were quite a large number of them). Not one of them mentioned her or had an entry in her name.<\/p>\n\n\n\n But what I did find was even more surprising and shocking. She had a very famous uncle called Vladimir Kashperov and he had been quite a successful opera composer in the Nineteenth Century. He\u2019d had operas performed in Italy and was a friend of major literary figures in Moscow \u2013 Tolstoy and so forth \u2013 he was very much in the circle. Of course, having had success abroad he was very much respected and regarded, and I found an extensive entry for Vladimir Kashperov talking about his musical career, his teaching at the Moscow Conservatoire, and his performances in several different opera houses in Italy (including La Scala). At the very end, as you often have at the end of a biographical entry, there was another little standard section \u2018other relatives\u2019 and there it said, \u2018Leokadiya Kashperova, pianist and piano teacher\u2019. It didn\u2019t mention composer.<\/p>\n\n\n\n So, you really unearthed something there.<\/strong><\/p>\n\n\n\n Yes, I was holding the symphony in my hand! Here was a revered Russian musical encyclopaedia with no entry about her, and what\u2019s more when there was a reference to her it was merely as a piano teacher. It was absolutely absurd. So I began to admire this woman enormously, and as you can imagine I spent every waking hour pacing the streets of St. Petersburg in search of her music. There wasn\u2019t anything central, or easy, it was scattered about all over the place. I went to the musical archive extension of the Russian National Library, which is rather like the British Library \u2013 it covers every subject under the sun. There I found the first half of Songs of Love<\/em>. They were written for soprano and piano \u2013 there are twelve in total (I discovered the second set of six in Moscow later).<\/p>\n\n\n\n This added another layer to my interest as I realised she was also a poet. Kashperova wrote the Russian lyrics to these Songs of Love <\/em>herself, but furthermore she also wrote them in German. What an extraordinary woman this is! Pianist, teacher, composer, multilingual poet \u2013 she didn\u2019t just have a smattering of German, it was absolutely perfect, and the setting of her own German text is absolutely beautiful. That led me to other discoveries and I realised that her poetic spirit appealed greatly to me. Another choral work I found in St. Petersburg also attracted me, and this you will love. The title makes you fall in love with it before you even start: \u2018In Answer to a Child\u2019s Question, Where do the Stars Come From?\u2019<\/p>\n\n\n\n Aaaah!<\/strong><\/p>\n\n\n\n Isn\u2019t that absolutely gorgeous? I\u2019ve edited that and it is now published by Boosey and Hawkes. We just decided to call it \u2018Where Do the Stars Come From?\u2019 We thought it was just too long to say the whole thing. It\u2019s a setting of a beautiful poem by Polonsky, who was a Romantic poet living in St. Petersburg and a personal friend of Kashperova. He was a very old man when they met, and she would go to readings of his poetry. I don\u2019t know how many composers nowadays would attend readings of the poet laureate in this country, but it is unusual. She had a poetic streak and a very great poetic talent.<\/p>\n\n\n\n In fact, the very first works by Kashperova that I edited for Boosey and Hawkes were two unaccompanied little motets. They were settings of works by the same poet, Polonsky, called \u2018Evening and Night\u2019. I found these in the archive in Moscow in pencil<\/em>. Just two single little sheets, and this was me pushing open the door with regard to developing a relationship with the very top hierarchy of Russian musical archives. I presented the director of the manuscripts department with a copy of my Stravinsky book and I said, \u2018I am a Stravinsky musicologist. It would be so interesting if I could have a copy of these two sheets of manuscript in pencil, and could we take a photograph of them before they vanish!\u2019 (They had been underground for decades and were in very grave danger of just disappearing because they were so faint.) She took great interest in my request, I brought the copies back to the UK and they became the first pieces that I edited.<\/p>\n\n\n\n That began a little process. Every time I went to Moscow to work with the materials I would bring something back home with me. The most recent and most exciting works that I brought back were firstly the Piano Concerto, which was never published (at least, I\u2019ve never found a published version) but I found the complete full score in her own handwriting, can you believe? This score had been used by the conductor \u2013 it had all his markings slashed over it in German. \u2018SCHNELL\u2019 was written in very large writing, I seem to remember!<\/p>\n\n\n\n The other most recent work that I brought back from the Russian National Museum of Music was even more precious and more personally gratifying for me: her Piano Trio in A minor. This I discovered in pencil manuscript, it had clearly never been performed or published and it had been composed for herself in her final years. I write extensively about this in the final pages of her biography. This beautiful work seems to symbolise everything about her: her spirit, her musical qualities, her character… It\u2019s incredible that she should have written such an extraordinarily beautiful but strong piece as a personal legacy, not knowing if anybody would ever find or play it. I just felt it was my destiny and great privilege to be handling this. When I brought it back and I sat at my piano and saw these tiny little pencil dots \u2013 she really wrote musical notes with the tiniest little dots of her pencil. It took me several years to prepare the edition for that reason.<\/p>\n\n\n\n The only music I could read clearly and immediately sightread was the opening of the Andante. It\u2019s exquisitely beautiful and, as I sometimes confess, tears rolled down my cheeks as I played that. It was just unbelievable, I dare anybody to play that. I play it with friends of mine here in Uckfield. We don\u2019t perform it but we play that movement and the Scherzo for ourselves and are often moved to tears by the beauty of that Andante. It is something<\/em>. I\u2019ve even been requested to play it at the funeral of a very dear friend of mine and everybody in the church said that it was the most beautiful piece they\u2019d ever heard played at a funeral, for its calm, beauty and expressivity. It\u2019s absolutely perfect.<\/p>\n\n\n\n So I began to develop a relationship with the archive in Moscow. When I found the manuscript score of the Piano Concerto I realised this was a major orchestral work \u2013 the only other orchestral work after the Symphony that we knew about. I asked the head of the manuscripts department if she could please speak to the directors of the Russian National Museum of Music. The Piano Concerto is a major work, this is not a two-page motet or a ten-page piano trio, this is a 150 page Piano Concerto. So I wanted to ask their permission: would they release it with a view to publication in London at Boosey and Hawkes? She said she would speak to him. The next day I went in to see her and she said, \u2018sit down. The Director says if you hadn\u2019t done your work and rediscovered Kashperova\u2019s music, nobody would know about her to this day\u2019. And then these three magical words: \u2018she is yours\u2019.<\/p>\n\n\n\n Oh my goodness, what an incredible find. I\u2019m thinking George Clooney should play you in the movie.<\/strong><\/p>\n\n\n\n (Laughs)<\/p>\n\n\n\n Well, think what you have opened up for us all. If things were different in Russia, would you still be going back to unearth more? What would you be looking for if you could go back out there?<\/strong><\/p>\n\n\n\n Oh my heavens. There are three masterpieces to be found that were lost, and she herself recognised and lamented in her old age when she wrote down her memoirs. The upheaval of the Bolshevik revolution was so total \u2013 we cannot begin to imagine the physical upheaval of people\u2019s lives, never mind the political, mental and emotional effects. In that upheaval she lost those three compositions that she regretted to the end of her days. She even wrote of one of them: \u2018this was the finest music I\u2019ve ever written and I will never be able to write it again\u2019.<\/p>\n\n\n\n How sad.<\/strong><\/p>\n\n\n\n My contacts, friends and colleagues in Russia know about this and they know that eventually they will have to find it for me because I can\u2019t go back. It is a piano trio of a very special nature. In 1912 she composed it as a memorial to her very dear friend Aleksandr Verzhbilovich for whom she wrote the cello sonatas. She wrote it after he died for a special memorial concert. It was a piano trio, but due to the mournful occasion she substituted the violin for a viola. She wrote that this was the finest composition she had ever written. Can you imagine that? The whole world has got piano trios coming out of its ears: all of Beethoven\u2019s (including the \u2018Archduke\u2019), Schumann\u2019s, Clara Schumann\u2019s wonderful trio, Brahms and so on. But there\u2019s not one for viola, cello and piano \u2013 this is extraordinary. I think it would be an absolutely immense discovery if we could find it.<\/p>\n\n\n\n There are two other works. The next one is the third cello sonata that she wrote she also wrote for Aleksandr Verzhbilovich and performed with him. The first two were written right after she graduated from the conservatoire in 1895\/6 but this third one she wrote ten years later. So we know it was written after the Symphony and the Piano Concerto \u2013 she was a mature compositional voice. How incredible if we could find this third cello sonata. The third work is equally exciting because the great frustration at the moment is we know she was a top rate concert pianist \u2013 the finest concert pianist of her generation and the star pupil of Anton Rubinstein. Her Piano Concerto is just immense, beautiful and very, very difficult, but what we don\u2019t have is a major work for piano solo. <\/em>There is the Piano Symphony <\/em>which equates to an expansive and challenging Piano Sonata; but being a transcription it appeals more to that select cohort of concert pianists seeking specialist repertoire.<\/p>\n\n\n\n This is a frustration because pianists have been in touch with me wanting to play her music. We\u2019ve got this little suite of pieces called In the Midst of Nature <\/em>but they were really written for her own pupils. If you notice they become increasingly difficult \u2013 they progress from about Grade 5 to about \u2018Grade 10\u2019 as you work through the six movements! Kashperova often performed the last two in public recital \u2013 in London, for instance, in 1907: The Murmuring of the Rye <\/em>is a wonderfully effective concert piece. And we know that the Threshing of the Wheat <\/em>was frequently encored.<\/p>\n\n\n\n However, there is a lost work \u2013 her greatest piano solo work is a suite of seven movements and the title is in French: Hommage aux oeuvres de Pietro Canonica <\/em>(\u2018Homage to the Works of Pietro Canonica\u2019). Pietro Canonica was an Italian sculptor. How extraordinary is this? She was inspired by sculpture to write seven descriptive movements. If only we could find this Suite I am sure that pianists would love to perform it in the same programme as Mussorgsky’s Pictures at an Exhibition.<\/em><\/p>\n\n\n\n I found in the St. Petersburg Musical Gazette of 1912 a review of this concert, given in memory of Aleksandr Verzhbilovich, and it tantalisingly says that these pieces for piano solo are absolutely fantastic. It also says that the piano trio with viola has got a last movement full of contrapuntal artistry. Well, counterpoint is something that would be a complete novelty to find in Kashperova\u2019s music. She was surely inspired by that incredible fugue in the\u00a0finale\u00a0<\/em>to Tchaikovsky\u2019s Piano Trio \u2013 another \u2018tribute to a great musician\u2019, Nikolai Rubinstein. I\u2019m thinking that work might have been an important precedent, the model even, for her own tribute to Verzhbilovich. We\u00a0have\u00a0<\/em>to find this piece in order to have a clearer picture of her rounded compositional brilliance.<\/p>\n\n\n\n So those are the three works, and they\u2019re not inconsequential \u2013 on the contrary \u2013 they are masterpieces and she herself recognised them as being so. It broke her heart that because of the political situation there was absolutely no chance of her travelling to try and locate them. So we owe it to her to track them down because I\u2019m sure they\u2019re not destroyed, they must be sitting somewhere in that vast country. I can\u2019t wait to go back, but it might be my grandchildren who do it for me now.<\/p>\n\n\n\n We\u2019ll have to make sure that this transcript is kept free access. It would be incredible if someone could read this article, or any of your published work, and it gives them the impetus to keep this scholarship going.<\/strong><\/p>\n\n\n\n Yes. For example, the Symphony was dedicated to an industrialist and patron of the arts in St. Petersburg. It was a family that Kashperova knew, and the third cello sonata was premiered at the wedding of his daughter. His daughter and her husband emigrated to the United States, so my research is now across the USA to see if they took a copy with them. It was a wedding present \u2013 if somebody writes you a story to be recited at your wedding, you\u2019d be given a copy of it, wouldn\u2019t you?<\/p>\n\n\n\n Yes, and that score is something that I imagine wouldn\u2019t have been thrown away by the family if they had inherited it. Exciting \u2013 there\u2019s so much more juice to squeeze out!<\/strong><\/p>\n\n\n\n (Laughs)<\/p>\n\n\n\n Lastly, if you were giving advice to students, academics or conductors interested in unearthing more about Kashperova and her music, what would your recommendations or advice be?<\/strong><\/p>\n\n\n\n If you like it might be fun to end on our little conversation with this: I would like to make an appeal to your readership to assist me in this time of unprecedented geopolitical chaos and disturbance where the normal routes to research are closed.<\/p>\n\n\n\n Look in your own libraries, archives within your reach, and spread the word because you never know what you will find.<\/p>\n\n\n\n I will give you an example of what I mean. I came across an extraordinary example of how you never know what might be under your nose. One of the most exciting discoveries I\u2019ve made was that I realised that Leokadiya Kashperova had been recorded by the Welte-Mignon company in Moscow \u2013 she made piano rolls of Balakirev\u2019s Piano Sonata in B flat minor in 1910. When I received that information I thought, \u2018well, that\u2019s another thing I have to find somewhere in Russia\u2019. Where do you find a piano roll in Russia, for God\u2019s sake? Or anywhere in the world? Well, it just so happened that I made contact with The Pianola Institute [2] (in the UK). I wrote to them, explaining that I\u2019m beginning this search and asking where might we look for this piano roll (it was completely out of my knowledge). I wondered if they would have any indication of whether it could be found anywhere in Europe.<\/p>\n\n\n\n Anyway, can you believe it? Julian Dyer wrote back, almost by return, to say there are piano rolls of Kashperova playing archived in the Brentford Musical Museum in London. Brentford! About 50 miles from my house \u2013 I didn\u2019t have to cross Russia to find it.<\/p>\n\n\n\n I\u2019ve never even heard of this place!<\/strong><\/p>\n\n\n\n I think we should meet there, Hannah, and have a look around! I got myself to Brentford to meet Julian, and at the Musical Museum they\u2019ve got an enormous archive of piano rolls. Hundreds, thousands of piano rolls. He took two or three piano rolls off the shelf, put them in the piano roll machine, and we heard Kashperova play the piano. I don\u2019t know if you\u2019ve ever experienced a piano roll performance, but they put the roll into a grand piano and set in moving. Then you look at the piano and the keys go up and down \u2013 it\u2019s like having a ghost in the room. You just have to close your eyes and Leokadiya is sitting there playing the piano… because that\u2019s exactly what\u2019s happening. Exactly <\/em>what\u2019s happening.<\/p>\n\n\n\n Yes, it\u2019s actually better than a recording.<\/strong><\/p>\n\n\n\n It is. With a recording you\u2019ve just got the sound, but with a piano roll you\u2019ve got Leokadiya\u2019s fingers going up and down, you just can\u2019t see them.<\/p>\n\n\n\n That\u2019s just one example. So I would like to make an appeal \u2013 please look in your library. It\u2019s well over a century that Kashperova\u2019s scores have been lost. They could be anywhere in the world… or just across the street in your local or university library. Or in the attic. Have a good look and get in touch. History awaits…<\/p>\n\n\n\n — —<\/p>\n\n\n\n Bibliography\/Recommended Reading<\/strong><\/p>\n\n\n\n Baxter, H. \u2018Chris Hopkins on Kashperova\u2019s Piano Concerto in A minor\u2019 in Notes from the Podium <\/em>Issue 24: Turn of the Century Women (April 2023) https:\/\/www.notesfromthepodium.co.uk\/?p=1494<\/p>\n\n\n\n Baxter, H. \u2018Anna Skryleva on Kashperova\u2019 in\u00a0Notes from the Podium\u00a0<\/em>Issue 37:\u00a0From Discovery to Stage (July 2026)<\/p>\n\n\n\n Boosey & Hawkes, Kashperova Edition <\/em>(2022-): www.boosey.com\/composer\/Leokadiya+Kashperova Griffiths, G. Stravinsky\u2019s Piano: The Genesis of a Musical Language<\/em> (Cambridge: Cambridge University Press, 2013)<\/p>\n\n\n\n Griffiths, G. \u2018Leokadiya and Stravinsky; the Making of a Concert Pianist\u2019, in Griffiths, G. (ed.) Stravinsky in Context <\/em>(Cambridge: Cambridge University Press, 2021) pp.24-33<\/p>\n\n\n\n Griffiths, G. Leokadiya Kashperova: Biography, \u2018Memoirs\u2019 and \u2018Recollections of Anton Rubinstein\u2019 <\/em>(Cambridge: Cambridge University Press, 2023)<\/p>\n\n\n\n Taruskin, R. Stravinsky and the Russian Traditions; A Biography of<\/em> Works Through <\/em>Mavra, Volume 1 <\/em>(California: Oxford University Press, 1996)<\/p>\n\n\n\n [1] https:\/\/www.boosey.com\/cr\/news\/First-recordings-of-Kashperova-s-_Piano- Concerto_-and-_Symphony_\/102843 <\/p>\n","protected":false},"excerpt":{"rendered":" 24th April 2026 Well Graham, although I\u2019ve now heard a number of Kashperova\u2019s works, read your book, heard you speak […]<\/p>\n","protected":false},"author":1,"featured_media":2237,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[3],"tags":[],"class_list":["post-2228","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-public","pmpro-has-access","clearfix"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.notesfromthepodium.co.uk\/wp-content\/uploads\/2026\/05\/Picture2.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8YX8Q-zW","_links":{"self":[{"href":"https:\/\/www.notesfromthepodium.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/2228","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.notesfromthepodium.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.notesfromthepodium.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.notesfromthepodium.co.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.notesfromthepodium.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2228"}],"version-history":[{"count":4,"href":"https:\/\/www.notesfromthepodium.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/2228\/revisions"}],"predecessor-version":[{"id":2270,"href":"https:\/\/www.notesfromthepodium.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/2228\/revisions\/2270"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.notesfromthepodium.co.uk\/index.php?rest_route=\/wp\/v2\/media\/2237"}],"wp:attachment":[{"href":"https:\/\/www.notesfromthepodium.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2228"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.notesfromthepodium.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2228"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.notesfromthepodium.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2228"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
If you come across any resources relating to Kashperova, please email g.griffiths.kashperova@gmail.com or info@notesfromthepodium.co.uk. <\/p>\n\n\n\n
www.boosey.com\/audiovisual \u2013 for access to 5 short documentary videos<\/p>\n\n\n\n
\n\n\n\n
[2] www.pianola.org<\/p>\n\n\n\n