Der Pianist Denis Matsuev trat bei der Eröffnungsfeier der Olympischen Spiele auf. Er genießt die Luft in Sotschi, ist stolz auf sein Land und schaut mit Sorge nach Kiew.Read more...
Sochi's closing ceremony referenced Russia's proud history of composition by having piano virtuoso Denis Matsuev emerge from a cloud of smoke and blast through a Rachmaninov composition like he was playing Metallica.
November became a memorable month for cultural life of Novosibirsk. Publishing House "Music"- "P.Jurgenson" with International Charity Foundation of P.I. Tchaikovsky and with participation of Bank Group ZENITH accomplished the joint project. All music schools of Novosibirsk got a considerable amount of tutorials, textbooks and sheet music from Publishing House "Music".Read more... Tags:
People’s Artist of Russia Denis Matsuev needs no introduction. RBTH correspondent met with Matsuev right after his concert at the Berliner Philharmonie, where he played Shostakovich’s Piano Concerto No. 2 with an orchestra conducted by Valery Gergiev.
The first half of the 20th century must surely be one of the most richly creative periods in history. This was a time of great social and political change, spearheaded by two most devastating wars that saw death and destruction on a new level of cold efficiency. Rising from the ashes of this massive upheaval, the arts produced a glorious outpouring of works and ideas not seen since the renaissance and never on this scale. In the world of music, the flowering of talented composers born in the last quarter of the 19th century, produced an embarrassment of riches, to such an extent that it was possible to consign a composer as talented as Szymanowski to the second rank.
Following in the footsteps of Simon Rattle and Charles Dutoit, it is all credit to Valery Gergiev that he is also championing this miraculous, if still peripheral, composer. To hear this music so luxuriously played by the London Symphony Orchestra seemed like the perfect way to experience it. This music has a surface richness and virtuosity that cries out for a first-rate orchestra and a conductor in tune with the toughness at its core – certainly delivered in spades, in this most memorable concert.
Two works by Szymanowski occupied the substantial first half of the evening. Both late works, they show the composer at his most rounded and contained, while not losing that essential wildness and rapturous quality which are unique to him. The oddly categorised Symphony no. 4, “Symphonie Concertante” of 1932 is a piano concerto in all but name and as such easily stands up to comparison with the great works by Bartók and Prokofiev of the same period. As performed by Gergiev and his powerful pianist Denis Matsuev, this was a performance that struck one as energetic and bold, but also giving time for the work to breathe and expand as needed. In the first movement, the balance between the ruminative opening subject and the more dynamic second group of ideas was nicely maintained and the overall effect was passionate but organic. Matusev found just the right level of forcefulness and melting delicacy.
This latter quality was much in evidence in the second movement with its piano part gently accompanying solos from the strings and woodwind, while always being somehow in control of the musical flow. In the great central climax the sense of elation overflows into a great string melody, which once again melts into the piano roulades, all beautifully judged by Gergiev and Matsuev. In the final movement all these positive musical qualities once again surfaced to produce and an exciting and satisfying conclusion to an excellent performance of an inspired work. The frenetic Polish highland dance that ends the work took the breath away with its controlled power.
The secret to performing Szymanowski’s music, so clearly understood by Gergiev in these performances, is to hold onto that fine line between classical restraint and total abandon and then to make it all sound completely spontaneous. This he and his soloist Leonidas Kavakos achieved even more successfully in their performance of the Violin Concerto no. 2 that followed. Perhaps a greater work that the symphony and possibly its composer’s best work, this concerto has all the ingredients that make Szymanowski so exceptional. Gergiev and Kavakos certainly got to its core.
Once again, it’s all about balance, and Kavakos took as his starting point a reasonable mid-point of restraint. The opening passage was warm but not effusive, and this mesmerising stillness once created, he was able to return to it as the music required. At other times he opened out with a lusher sound, or in tougher folk dance passages, he would dazzle with rock-solid rhythmic impetus and thrilling double-stopping. The ebb and flow of this piece was so wonderfully captured, that I’m sure many of the audience left this performance wondering why the they hadn’t heard it before and or why it wasn’t in the repertoire of most concert violinists.
And then we ended with the Brahms. Odd bedfellows, you might think, but somehow it worked. Brahms is another composer that needs a fine balancing act between restraint and passion, and the Symphony no. 4 is the most perfect example of this duality in his orchestral music. If performed as it was by the Gergiev and the LSO, it sounded strangely reminiscent of Wagner or Bruckner, but with many fewer of the former’s longueurs or the obsessive “logic” of the latter. It certainly put paid to Britten’s insistence that Brahms’ music was “dull”, “stolid”, “pretentious”. There was not, as you might be forgiven for expecting, a touch of Tchaikovsky or even a Russian accent.
The first movement tempo seemed initially to be a little leisurely, but then it became obvious that Gergiev’s overall conception was to emphasise the grand sweep, leading the inevitably to the climatic coda.
Submitted by Chris Garlick on 17th December 2012Tags:
Except for regretting Kurt Masur’s unfortunate accident that prevented him from conducting the Israel Philharmonic Orchestra’s concert last week, there was no reason for disappointment with Doron Salomon as substitute.
Russian pianist Denis Matsuev’s performance of Brahns’ Piano Concerto No. 1 was electrifying. He is a veritable bombshell of temperament, radiating passion, intensity of expression, and excitement. Powerfully convincing though his outbursts are, there is nothing exaggerated or showy about them. Not even the slightest fleeting detail is neglected, tempi are subtly flexible with no trace of rigidity, climactic highlights are significantly accentuated, nuances of dynamics are abundant, and technically demanding runs are meticulously polished.Read more... Tags:
Denis Matsuev and Mariinsky Theatre Orchestra with V. Gergiev live from Salle Pleyel, Paris today at 20:00 on mezzo.tv
Join us there!
Link to mezzo.tv here
Shostakovich Piano Concertos Nos 1 & 2 and Shchedrin Piano Concerto No 5 has been nominated for an International Classical Music Award (ICMA) in the Concerto category. The Award Ceremony and Gala concert will take place in Milan, 18 March 2013.
From 24 to 29 October 2012 four concerts of Denis Matsuev as a soloist will take place in the U.S. The concert tour program includes works by Brahms and Shostakovich.
Today the decree of the President of Russia V. Putin about the composition
of the Culture and Arts Presidential Council was published.
58 cultural figures form it. The presidium consists of 15 members. Among them the adviser to the President Vladimir Tolstoy, the director of cinema concern "Mosfilm" Karen Shakhnazarov, the Hermitage Museum director Mikhail Piotrovsky, the president of the Moscow Performing Arts Centre Vladimir Spivakov.
Among members of the Council are the Director of the Maryinsky Theater in St. Petersburg Valery Gergiev, the president of the Union of Theatrical Figures of Russia Alexander Kalyagin, the artistic director of the Moscow Art Theatre Oleg Tabakov, the conductor Yury Bashmet, the editor-in-chief of "Kultura" TV-channel Sergey Shumakov and the pianist Denis Matsuev.
And traditionally all those members form the Board of trustees of "Kultura" TV-channel.