Broadcasts of two concerts in honour of Sergey Dorensky will take place on "Culture" channel on December 6 and 8
December 6, at 17 35, “Culture” TV channel will broadcast the concert “Sergey Dorensky and his students” from the Great Hall of Moscow Conservatoire, soloist Denis Matsuev. The programme of the concert includes Schubert, Sonata in A minor and Beethoven, Sonata no.23 “Appassionata”.
December 8, at 17 35, “Culture” TV channel will broadcast the concert “Tribute to Sergey Dorensky”, recorded at the Great Hall of Moscow Conservatoire on December 5. In the first part of the concert Alexander Shtarkman, Ekaterina Mechetina and Nikolai Lugansky will perform Rachmaninoff, piano concerts. In the second part Andrey Pisarev, Pavel Nersessian, Vadim Rudenko, Denis Matsuev and Vladislav Lavrik will perform Grieg, Prokofiev, Tsfasman and Shostakovich. Tchaikovsky symphony orchestra headed by Alexander Sladkovsky will also take part in the concert.
Today at 17 20 on “Culture” TV channel there will be a broadcast of the final gala concert of the music festival “Crescendo” (artistic director – Denis Matsuev)
The annual music festival “Crescendo” finished with a gala concert in Moscow in the Great Hall of the Conservatoire. The festival represents a unique annual forum for the best young Russian musicians, performing here means acknowledgement of talent and skills for the young generation of the Russian perfprming school. Denis Matsuev, art-director of “Crescendo”, says: “More than 100 musicians took part in the festival during 7 years… If you look at philharmonic posters throughout the country, you will see that 80% of the names on them come from “Crescendo”. Sharing his thought about the future, Denis expressed the intention to turn “Crescendo” into a music academy with its orchestra, workshops with invited professors and a special concert hall. You can watch the broadcast of “Russia 24” channel from the “Crescendo-2011” gala concert here.
New publication added to "Media" section: "Maestros et virtuoses russes à Annecy", the French translation of the article published in "The Moscow Times"
L’idée d’organiser l’Annecy Classic Festival est née à l’été 2009, alors que le pianiste Denis Matsuev faisait une apparition dans un autre festival français, non loin de Paris. Pascal Escande, directeur du festival, pianiste et enseignant, annonce alors qu’il met un terme à un autre évènement de moindre envergure qu’il organisait depuis dix ans à Annecy. Matsuev, qui avait joué à Annecy et trouvait ce lieu particulièrement adapté la musique classique, a exprimé ses regrets et proposé de présenter Escande à un ami qui pourrait éventuellement financer un festival plus important dans la ville.
L’ami en question est l’homme d’affaires moscovite Andreï Cheglakov, pionnier dans le domaine des logiciels en Russie qui s’est ensuite lancé dans le développement de voitures russes de luxe. Les deux hommes se sont finalement rencontrés plus tard en 2009, suite à un concert de Matsuev à Genève. Cheglakov connaissait bien Annecy car il y avait acheté un chalet près de la ville quelques années auparavant. Et c’est sans trop d’hésitations qu’il a accepté de soutenir ce projet de festival.
Ainsi, grâce à Matsuev et Escande qui remplissent le rôle de co-directeurs artistiques, une aide complémentaire du département de la Haute-Savoie et d’autres financements des autorités françaises, le premier festival a vu le jour à fin août 2010. Matsuev était bien entendu l’une des principales attractions, avec le violoniste Vladimir Spivakov, l’altiste Iouri Bachmet et l’Orchestre philharmonique de Saint-Pétersbourg, sous la baguette de son directeur artistique de longue date Iouri Temirkanov.
Le contingent russe, présent pour la deuxième édition du festival, était une fois de plus composé du Philharmonique de Saint-Pétersbourg de Temirkanov, ainsi que de son rival originaire de la même ville, l’Orchestre du Théâtre Mariinsky, dirigé par Valeri Guerguiev, avec Sergueï Krylov au violon, Sergueï Dreznin au piano et à la composition, et quatre jeunes talents russes d’origine moscovite dans les cordes. Parmi les autres musiciens, deux célèbres paires françaises : les sœurs pianistes Katia et Marielle Labeque, ainsi que le duo composé du violoniste Renaud Gautier et de son frère violoncelliste. Sans oublier Jean Guillou, le plus connu des organistes français.
Annecy ne manque pas de lieux pouvant accueillir un festival de musique. Elle abrite notamment plusieurs sites historiques comme la cathédrale Saint-Pierre datant du début du XVIème siècle ainsi que le musée-château d’Annecy qui domine la ville et fut érigé entre les XIIème et le XVIème siècle, ou le luxueux hôtel Imperial Palace et la gigantesque église Sainte-Bernadette, qui ont été construits plus récemment. L’acoustique est excellente dans chacun de ces sites.
Les concerts du festival offraient une musique de très grande qualité. Matsuev a une fois de plus interprété de manière éblouissante le concerto pour piano n°1 de Tchaïkovski et a fait preuve d’une sensibilité hors du commun dans un concert de musique de chambre composée par Tchaïkovski, Sergueï Rachmaninov et Béla Bartòk. Temirkanov a dirigé son orchestre dans une interprétation remarquable de symphonies de Tchaïkovski et Johannes Brahms. Une soirée marathon de récitals offerte par quatre jeunes pianistes largement salués fut quant à elle particulièrement mémorable, et ce grâce à l’interprétation élégante par le Japonais Kotaro Fukuma des études de Franz Liszt, qui sont rarement jouées, et la reprise magnifiquement fougueuse de la sonate en si mineur du même compositeur offerte par la Géorgienne Khatia Buniatishvili.
Le troisième festival de musique classique d’Annecy devrait avoir lieu à la fin du mois d’août prochain, probablement avec la présence, tout au long de l’évènement, d’un orchestre renommé, et sans doute avec la participation de Matsuev ainsi que d’autre grands noms russes qui continueront à occuper une place importante sur la scène classique mondiale.
This article is a translation into French of the original by Raymond Stults published in "The Moscow Times"
The original French publication is available on the official web-site of the newspaper "La Russie d'Aujourd'hui"
MONTREAL - My Moscow relatives were jealous when I told them I would hear Denis Matsuev play Rachmaninoff’s Third Piano Concerto at the Maison symphonique Thursday, and these are not easy people to impress. I had one cousin train an elephant to walk a tightrope between two balconies at a party — a three-ton beast, bejazzled in every way, who loped across with a triumphant teenager on top — and nobody noticed.
Turns out they were right to be jealous, but first there was the matter of The Seasons, the ballet by Glazunov — the same Glazunov who allegedly ruined the première of Rachmaninoff’s first symphony by conducting it drunk. Not a Russian tradition, in this case — it’s just what I think of whenever these two share a concert program.
Glazunov was a wunderkind, like Rachmaninoff, but from St. Petersburg instead of Moscow. He even managed to ride out the revolution, which comes to mind because there is something shrewd about his music, even with Mikhail Pletnev leading the OSM. It was a vivid performance and its more brilliant parts, like the Autumn Bacchanal, made me glad there weren’t dancers trying to keep up with Pletnev. He conducts like a man launching a yacht in a tuxedo, careful-don’t-get-mud-on-it movements bursting into Christ-I’ll-do-it-myself. But most of the suite just ran prettily past. No matter how finely the material is worked, it’s still not gold.
Expectations were high when Matsuev arrived. At 38, he looks like a big, rosy-cheeked Siberian boy, but he moves like a gallant; he could have entered in a litter. Pletnev and he passed for two men ignoring each other while performing a virtuoso duet; the opening theme’s octaves glided into the orchestral line as if they were played by one hand, and the first cadenza (the piano solo) was volcanic, a freakish release that cast Matsuev’s elegant composure into self-conscious relief. The finale was sublime, but the best was their wondrous Intermezzo, as balanced as a watch spring and as full of discoveries as the ocean in the dead of night.
This much beauty was almost a knockout after Glazunov’s pretty slapping, but it wasn’t enough to prevent the massive audience from giving the champion six trips to the door before he realized an encore was necessary. So he played two.
He personified a whole epoch of piano art, winning the Tchaikovsky competition in 1958. The victory was a truly landmark event – an American pianist won the first contest of P. I. Tchaikovsky Conservatory in Soviet Moscow. It really was a breakthrough in all respects, including politics, but politics in this case were relegated to second place because his playing was just so brilliant.
It is important that Van Cliburn was a follower of the Russian piano school. He graduated from the famous Julliard teacher Rosina Lhévinne, herself a graduate of the Moscow Conservatory. He subsequently was awarded the diploma of the Moscow Conservatory and it’s certainly a sign of recognition, because Russian pianist school is felt in his playing: the art of singing at the piano and an absolutely amazing romantic style of execution that captivated audiences in the Soviet Union. All were in love, and the love was mutual. He adored the Soviet Union, Russia, the Russian audience. He was absolutely out of politics, has always been at the forefront of his art.
Very hard to speak in the past tense about such person. I remember my personal impressions from meeting him, we compared the purely visual aspects of winning the Tchaikovsky competition. This was an infinitely touching, sensitive, kind and helpful person who dedicated his entire life to the service of art and proved by his example that talent has no nationality, that there are artists all around the world. Such a bereavement. A true legend. Legends such as he, you can count them on one hand. Eternal memory …Tags:
Original version at PSO site: http://vimeo.com/59710401
Pittsburgh Symphony music director Manfred Honeck returned Friday night to a packed house at Heinz Hall, where he conducted a blockbuster program of great and popular music.
Honeck, who has been busy making his debuts with the New York and Berlin Philharmonics in 2013, began with an interpretation of Modest Mussorgsky's “Night on Bald Mountain” that would test any orchestra.
The performance played to extremes of all kinds, including a tempo for the main section of the piece that was so fast it was reminiscent of Soviet conductor Yevgeny Mravsinky in other repertoire.
Although the tempo was anything but out of place for frenzied debauchery, only a great orchestra could make it work.
No doubt Honeck pushed the limit, but the orchestra rose to the occasion in many ways — and not with only stunning articulation, dynamic contrasts and impressively concentrated brass sonorities.
The end of the piece, ushered in by morning's bell, was quite slow and featured beautiful wind solos by Michael Rusinek and Lorna McGhee. Her flute tone was instantly captivating in a special way and her phrasing included nice individuality.
Russian pianist Denis Matsuev followed with an astonishing performance of Sergei Rachmaninoff's Piano Concerto No. 2. This is music written for a pianist with big sound and stunning virtuosity, and has been played by countless great pianists. Even so, Matsuev's power and velocity were jaw dropping.
Matsuev enjoys being the soloist, and if he sometimes overplayed and covered melodies he's actually accompanying, it must be admitted at other time he brought out inner ornamentation against the orchestra that is usually overlooked and provided freshness.
After intermission Honeck brought back Ludwig van Beeethoven's Symphony No. 7, a piece for which he has a particularly superb interpretation.
Honeck conducted this piece at his New York Philharmonic debut in early January. The interpretation he led Friday night was in most respects very similar to the one he led here in 2009. The energy and rhythmic focus carries all before it. His tempo relationships are excellent.
Yet there were new elements, most significantly more sustained and warmer string playing at the start of the second movement — which only served to deepen the expression without in any way losing the dignity of the feeling.
By Mark Kanny
Published: Saturday, February 16, 2013, 12:01 a.m.
Updated 10 hours ago
Read on triblive.comTags:
Now I'm in Israel already, in the anticipation of a new performance with the genius world known conductor Kurt Masur and the Israeli Philharmonic Orchestra. We will perform Piano concerto No.1 of J. Brahms. Eighteen months ago we were performing a concert of Prokofiev in Paris and right after the concert he personally asked me to learn Piano concerto No.1 of J. Brahms. During the last year I have performed it very often in many cities. For today it is one of my favorite concerts. I am looking forward to our performances in Israel. Performance of Piano concerto No.1 of J. Brahms with Kurt Masur, an expert in German music, one of the greatest conductors of our time, of course, is a significant event for me.
After a tour in Israel, I move to the American continent, where I will give concerts with the Pittsburgh Symphony Orchestra and Maestro Manfred Honeck. We will perform Rachmaninoff's Piano concerto No. 2.
Then it will be Montreal - performing with the Montreal Symphony Orchestra and Mikhail Pletnev Rachmaninoff's Piano Concerto No.3.
Then I fly back to Rome, where we will perform Tchaikovsky’s Piano concerto No. 1 with the Santa Cecilia Orchestra and maestro Yuri Temirkanov.
Wait for more news from the tour!
I would like to congratulate one of the greatest composers of our time on his anniversary. A composer with unique, original style of composing. I was lucky enough to know him for the last ten years. I performed his Piano concerto №5 and recorded it twice, once with the Bavarian Radio Orchestra with Mariss Jansons and the second time not long ago with Valery Gergiev. These records have a great success all over the world, like all his work, that, in my opinion, because of his genius. They are simply destined for success. My Congratulations to Rodion Konstantinovich and his muse, Maya Plisetskaya. This is a unique couple that proves that so talented, ambitious persons, like Rodion Konstantinovich and Maya Michailovna, can live happily together in one family.
Upon the request of Rodion Konstantinovich I gladly began rehearsing his Piano concerto № 2, which will be presented to the public on December 22nd in St. Petersburg, and on December 25th in Moscow. He had a feeling that this concert, devoted to Maya Plisetskaya, perfect fit for my style of performing. At the moment I am rehearsing the concert. I must say that rehearsals, when Shchedrin in a concert hall, or concerts, when he is in the auditorium, are very special rehearsals and concerts. And I have a very special feeling during performance, when the composer is in the hall. I wish him good health and prosperity for many years to come, I wish him energy to go along in the same vein, the same pace, in the same rhythm. I admire him and I am looking forward to these concerts.
Vishnevskaya was a stunning example for young people. That’s amazing how much she did for the young, for opera as a performing art. She created the Opera Center, where master classes and performances took place. She understood that Russia needed such centers. Many talented people were leaving the country at that time. It was extremely important to keep them here, to open talents who were born here. Best professors, best performers, best conductors come to the Center to give master classes to share their experiences with audience. The main goal of the Center’s activities was to show that we have continuity in the opera school, because there was the impression that our Russian vocal school was dying. She proved that it is not.
Fantastic woman, one of the most distinguished performers in Russian art. A woman with a steel character, sincere and straightforward, who always said what she thought. She was married to Mstislav Rostropovich and this couple survived a lot of troubles. They left the Soviet Union and then returned here triumphantly. Amazing singer, a powerful woman with a great character and fantastic life aspirations.
Galina Vishnevskaya left the stage in her prime. Only a truly great person can make such a decision. We will always remember her at the peak of her career.
Valery Gergiev and the London Symphony Orchestra Open the Symphonic Masters Series at Lincoln Center
The second Brahms program by Gergiev and the London Symphony Orchestra was at once more challenging and more satisfying. The choice of repertoire was less popularly appealing, more demanding, and much darker in palette. The choice of soloist — Russian pianist Denis Matsuev — in the titanic first piano concerto was much more felicitous, insofar as there was a greater sense of coherence and unity of interpretation between solo and orchestra than had been the case with the violin concerto.Read more... Tags:
Here is 20th-century Russian music at its most charismatic. The two piano concertos of Shostakovich contrast the expansive grin of a 27-year-old composer in the flush of his first fame with the jaded smile of a 51-year-old. Young Russian pianist Denis Matsuev is masterful at overcoming the works’ many technical demands. He lends the piano forward-moving power while giving his overall interpretation smoothly rounded corners. Conductor Valery Gergiev and his Mariinsky Theatre Orchestra are magnificent in achieving the same kind of balance, giving the music weight without ever making it ponderous. The slow movements in both concertos are magical as they waft gently by.Read more... Tags: