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Friday, March 24, 2017, 08:00 PM EST (GMT-5) / Saturday, March 25, 2017, 02:00 AM EET (UTC+2) – Live on Livestream

Wednesday, March 22, 2017

Richard Strauss: Don Quixote – Pablo Ferrández, Francisco Regozo, Orquesta Sinfónica de Galicia, Dennis Russell Davies (HD 1080p)














The award-winning Spanish cellist Pablo Ferrández plays Richard Strauss's Don Quixote with Orquesta Sinfónica de Galicia under the baton of internationally acclaimed American conductor Dennis Russell Davies. The viola is played by Francisco Regozo. The work was performed in the Palacio de la Ópera de A Coruña, on November 7, 2014.



Ο βραβευμένος σε πολλούς σημαντικούς μουσικούς διαγωνισμούς, 25χρονος Ισπανός βιολοντσελίστας Pablo Ferrández ερμηνεύει το έργο του Ρίχαρντ Στράους, «Δον Κιχώτης». Τον συνοδεύει ο βιολίστας Francisco Regozo. Τη Συμφωνική Ορχήστρα της Γαλικίας διευθύνει ο διεθνούς φήμης Αμερικανός μαέστρος Dennis Russell Davies. Η συναυλία δόθηκε στο Palacio de la Ópera, στην πόλη Α Κορούνια της Ισπανίας, στις 7 Νοεμβρίου 2014.


Richard Strauss (1864-1949)

♪ Don Quixote, Romance in F major for cello and orchestra, Op.35, TrV 184 (1897)

i. Introduktion. Mäßiges Zeitmaß / Don Quixote Sinks into Madness
ii. Thema. Mäßig / The Knight of the Doleful Countenance
iii. Maggiore / Sancho Pansa
iv. Variation 1. Gemächlich / The Adventure of the Windmills
v. Variation 2. Kriegerisch / The Battle with the Sheep
vi. Variation 3. Mäßiges Zeitmaß / Dialogue of Knight and Squire
vii. Variation 4. Etwas breiter / The Adventure with the Procession of Penitents
viii. Variation 5. Sehr langsam / Don Quixote's Vigil
ix. Variation 6. Schnell / Dulcinea's Enchantment
x. Variation 7. Ein wenig ruhiger als vorher / The Ride through the Air
xi. Variation 8. Gemächlich / The Adventure of the Enchanted Boat
xii. Variation 9. Schnell und Stürmisch / The Contest with the Magicians
xiii. Variation 10. Viel breiter / Joust with the Knight of the White Moon; The Defeated Don Quixote's Journey Home
xiv. Finale. Sehr ruhig / The Death of Don Quixote

Pablo Ferrández, cello
Francisco Regozo, viola

Orquesta Sinfónica de Galicia
Conductor: Dennis Russell Davies

Palacio de la Ópera, A Coruña, November 7, 2014

(HD 1080p)















The German composer and conductor Richard Strauss represents a remarkable extension of the work of Liszt and Wagner in the symphonic poems of his early career. Born in Munich, the son of a distinguished horn-player and his second wife, a member of a rich brewing family, he had a sound general education at there, while studying music under teachers of obvious distinction. Before he left school in 1882 he had already enjoyed some success as a composer, continued during his brief period at Munich University with the composition of concertos for violin and for French horn and a sonata for cello and piano. By the age of twenty-one he had been appointed assistant conductor to the well-known orchestra at Meiningen under Hans von Bülow, whom he succeeded in the following year.

In 1886 Strauss resigned from Meiningen and began the series of tone-poems that seemed to extend to the utmost limit the extra-musical content of the form. The first of these works, Aus Italien (From Italy), was followed by Macbeth, Dan Juan, Tod und Verklärung (Death and Transfiguration) and, after a gap of a few years, Till Eulenspiegel, Also sprach Zarathustra (Thus Spake Zarathustra), Don Quixote and Ein Heldenleben (A Hero's Life). Meanwhile Strauss was establishing his reputation as a conductor, directing the Berlin Philharmonic Orchestra for a season and taking appointments in Munich and then at the opera in Berlin, where he later became Court Composer.

The new century brought a renewed attention to opera, after earlier relative failure. Salome in Dresden in 1905 was followed in 1909 by Elektra, the start of a continuing collaboration with Hugo von Hoffmanns­thal. Der Rosenkavalier (The Knight of the Rose), a romantic opera set in the Vienna of Mozart, was staged at the Court Opera in Dresden in 1911, followed by ten further operas, ending only with Capriccio, mounted at the Staatsoper in Munich in 1942. His final years were clouded by largely unfounded accusations of collaboration with the musical policies of the Third Reich and after 1945 he withdrew for a time to Switzerland, returning to his own house at Garmisch only four months before his death in 1949.

Don Quixote, Fantastic Variations on a Theme of Knightly Character, was written in 1897 and first performed on 8th March the following year in Cologne at the Gürzenich under Franz Wüllner. The work is the whimsical counterpart of Ein Heldenleben, first performed a year later. Don Quixote was not originally conceived as a concerto and the solo cello part was at first intended for the leader of the cello section. Eventually, however, Strauss conceded the part to a soloist, in view of the technical demands it made and the prominence of the instrument through much of the work.

The picaresque novel by Miguel Cervantes, El Ingenioso Hidalgo Don Quijote de la Moncha, was published in two parts, in 1605 and 1615. A simple country gentleman has his head turned by reading too many romantic tales of chivalry and misguidedly sets out as a knight errant, dedicated to the righting of wrongs. The book itself has been seen most as a criticism of contemporary romances of chivalry and, indeed, of the pastoral romance, offering at the same time a contrast between the real and the ideal, the reality of Don Quixote's actual world and that of his imagination. There is humour and pathos in Don Quixote himself, his delusions and his nobility of Intention. On his second expedition he is accompanied by Sancho Panza as his squire, a villager who combines a degree of common sense and sententiousness with care for his master.

The Introduction at first offers three themes associated with the protagonist. The first, marked ritterlich und galant (knightly and gallant) is introduced by the woodwind. Second violins and violas follow with Don Quixote the courteous gentleman and a descending clarinet figure introduces a glimpse of his way of thinking. The violas continue with his reading of romances of chivalry, leading to an oboe theme suggesting courtly love for a noble mistress and muted trumpets reflect a challenge to rescue her from dangers suggested by the monsters of the lower register brass and strings. Their idealised love dissolves, as delusion follows delusion in a contrapuntal complexity of motifs and themes. The theme of Don Quixote, the Knight of the Sorrowful Countenance, is now stated by the solo cello, with the help of the solo violin, a sorrowful transformation of the opening material. This is followed by Sancho Panza, with a rustic bass clarinet and tenor tuba, a chatterbox solo viola and a sententious conclusion, three aspects of his character.

The first variation depicts the adventure of the windmills. Don Quixote sees on the plain below some thirty or forty windmills which he takes for giants and resolves to attack, in spite of Sancho Panza's assurance that these are windmills and that what Don Quixote thinks are arms are their sails, turning in the wind. The knight falls at the first encounter with a sail that shatters his lance, leading him to believe that the giants had been transformed by a wicked magician. The second variation represents the adventure of the sheep in which Don Quixote, represented now by three cellos, sees clouds of dust approaching from each side, clearly the opposing armies of the Emperor Alifanfaron and of Pentapolin of the Bare Arm. Even Sancho is persuaded that these are not the flocks of sheep they seem, bleating in the woodwind, with the dust cloud of the violas and the pipes of the shepherds. The disastrous conclusion of the episode is omitted. The third variation brings a conversation between Sancho and his master, the earthy common sense of one contrasted with the quixotic love of knight errantry of which the squire is almost persuaded. The fourth variation finds Don Quixote set on rescuing a supposed lady in distress, in fact a statue of the Madonna carried by a procession of penitents. Provoked, one of the bearers aims a blow at the knight, who falls to the ground, apparently dead, mourned by Sancho as the flower of chivalry, as the procession moves on. The meditative fifth variation finds Don Quixote, at the start of his adventures, keeping vigil over his sword and armour, and thinking of his imagined lady, the peasant girl to whom he would give the title of Dulcinea del Toboso. In the sixth variation Don Quixote attempts to pay his respects to his supposed Dulcinea, a country girl, apparently bewitched and transformed. Sancho, however, assures his master that this is his lady. They are entertained in the seventh variation by the Duke and Duchess, who convince both squire and master, blindfold, that they are traveling on a flying horse to save from enchantment the Afflicted Waiting-Woman, to the amusement of the whole court. The eighth variation is the adventure of the enchanted boat, in which they find a boat moored by the river-bank and allow it to take them downstream, to some great exploit, but in fact to a weir, from which millers, earlier supposed to be devils, rescue them, an outcome for which Sancho gives thanks in a final prayer. From earlier in the book comes the adventure in which Don Quixote attacks two Benedictine monks, whom he takes for magicians, providing the excitement of the ninth variation. The final variation brings Don Quixote almost to his senses, when Sampson Carrasco disguises himself as the Knight of the White Moon, engaging Don Quixote in combat and defeating him, persuading him to spend a year of relative repose as a shepherd rather than a knight errant. The tale ends with the final illness and death of the hero, as earlier events are recalled in relative tranquility.

Strauss wrote his Romance for cello and orchestra in the summer of 1883, dedicating it to his uncle, Anton, Ritter von Knözinger, Chief Public Prosecutor in Munich. The work was also arranged for cello and piano and in one form or another received some contemporary exposure in performances by the cellist Hans Wihan, to whom Strauss dedicated his Cello Sonata of the same year. It is scored for woodwind, strings and solo cello, and opens with a singing cello melody, framing a more dramatic central section.

Source: Keith Anderson (naxos.com)



Ως «φανταστικές παραλλαγές πάνω σε ένα θέμα ιπποτικού χαρακτήρα» είχε περιγράψει ο Ρίχαρντ Στράους το έκτο κατά σειρά συμφωνικό του ποίημα, «Δον Κιχώτης», έργο 35, το οποίο βέβαια εμπνεύστηκε από το ομώνυμο μυθιστόρημα του Θερβάντες. Το συνέθεσε το 1897, ενώ εργαζόταν ως πρώτος αρχιμουσικός στην Όπερα του Μονάχου. Η πρεμιέρα του έργου δόθηκε τον Μάρτιο του 1898 στην Κολωνία, από την Ορχήστρα Gürzenich, υπό τη μουσική διεύθυνση του Φραντς Βύλνερ.

Σκοπός του Στράους είναι η «σπουδή» πάνω στους κεντρικούς ήρωες του αριστουργήματος του Θερβάντες: τον Δον Κιχώτη (ο οποίος εκπροσωπείται από το σόλο βιολοντσέλο), τον ακόλουθό του, τον αφελή Σάντσο Πάνθα (που εκπροσωπείται από τη σόλο βιόλα με τη συνδρομή του μπάσου κλαρινέτου και της τούμπας), και την αγαπημένη του ονειροπόλου ιππότη, Δουλτσινέα (σόλο όμποε). Το έργο αποτελείται από τρεις ενότητες: Εισαγωγή, Θέμα με παραλλαγές, και Φινάλε.















Recently awarded the coveted ICMA 2016 "Young Artist of the Year", and prizewinner at the XV International Tchaikovsky Competition and at the V Paulo International Cello Competition, Pablo Ferrández announces himself as a musician of stature. His emotional intensity and personality on stage have wowed audiences around the globe.

Praised by his authenticity and hailed by the critics as "one of the top cellists" (Rémy Louis, Diapason Magazine), the 25-year-old Pablo Ferrández continues building a brilliant career through collaborations with international renowned artists and world leading orchestras.

He has appeared as a soloist with the Mariinsky Orchestra, Vienna Symphony Orchestra, St Petersburg Philharmonic, Stuttgart Philharmonic, Kremerata Baltica, Helsinki Philharmonic, Tapiola Sinfonietta, Hyogo Performing Arts Center Orchestra, Mexico National Symphony Orchestra, Spanish National Orchestra, RTVE Orchestra, Maggio Musicale Fiorentino, and collaborated with such artists as Zubin Mehta, Valery Gergiev, Yuri Temirkanov, Adam Fischer, Heinrich Schiff, Dennis Russell Davies, John Storgårds, Gidon Kremer, Ivry Gitlis and Anne-Sophie Mutter.

An avid chamber musician, Pablo is frequently invited to international festivals such as Verbier, Sommets Musicaux de Gstaad, Intonations Festival, La Folle Journée, Casals, Mecklenburg-Vorpommern, Spivakov, Piatigorsky, Kronberg, Santander, and the Rheingau Music Festival, where Pablo Ferrández was awarded with the Music Festival Award 2015. Ferrández has recently appeared in recital at the Louvre Museum in Paris, at the Palau de la Música de Barcelona, and at the Auditorio Nacional de Música de Madrid, obtaining rave reviews.

A captivating performer with a compelling technique, he is described as "an inspirational and expressive soloist who always places his skills at the service of the composer. Personal vanity is alien to Ferrández" (Rheingau Festival Award Jury).

Pablo Ferrández recorded his first CD, featuring Dvorak and Schumann cello concertos, with the Stuttgart Philharmonic Orchestra conducted by Radoslaw Szulc, which was received with great acclaim: "Pablo Ferrández is a fine performer, with a warm tone and an impulsive, if refined, lyricism that makes him a natural interpreter for Schumann's Concerto, with its melancholic elegance and flashes of mercurial wit" (Tim Ashley, The Guardian), "It is in Dvorak that Ferrández announces himself as a cellist of stature" and "(he) manages to play with huge emotion while still keeping his interpretation light and free from overindulgence" (Janet Banks, The Strad).

Ferrández is proud of his long-standing artistic friendship with Gidon Kremer, one of his major supporters. Pablo's second recording featured Italian works by Rossini and Menotti with the Kremerata Baltica, conducted by Heinrich Schiff.

Highlights of the 2016/2017 season include his debut at the Berliner Philharmonie with the Deutsches Symphonie-Orchester Berlin, the appereance with BBC Philharmonic under Juanjo Mena, collaborations with Christoph Eschenbach playing Schumann's Cello Concerto with the HR-Sinfonieorchester and the Spanish National Symphony, the return to Maggio Musicale Fiorentino under Zubin Mehta, recitals at Schloss Elmau and the Mariinsky Theater, a European tour with Kremerata Baltica and Gidon Kremer, appearances at the Jerusalem International Chamber Music Festival and the Rostropovich Festival, debuts with Orchestra Sinfonica Nazionale RAI, Barcelona Symphony Orchestra, Castilla y Leon Symphony, Gran Canaria Philharmonic, Munich Symphony, Estonian National Symphony, Orchestra Sinfonica Brasileira, Taipei Symphony Orchestra, Queensland Symphony Orchestra, and the performance of Brahms' Double Concerto with Anne-Sophie Mutter and the London Philharmonic Orchestra.

Born in Madrid in 1991, in a family of musicians, Pablo Ferrández joined the prestigious Escuela Superior de Música Reina Sofía when he was 13 to study with Natalia Shakhovskaya. After that he completed his studies at the Kronberg Academy with Frans Helmerson.

Pablo Ferrández plays the Stradivarius "Lord Aylesford" (1696) thanks to the Nippon Music Foundation.

Source: pabloferrandez.com































































More photos

Tuesday, March 21, 2017

Haik Kazazyan – All the posts














Haik Kazazian, one of the perspective young violinists of his generation, was born in Yerevan, the capital and largest city of Armenia, in 1982. In 1989 entered the Sayat-Nova Music School, studying with Professor L. Zoryan. In 1996 he moved in Moscow and trained at the Moscow Conservatory studying under Professor Eduard Grach (2000-2006) and at the Royal College of Music in London under Professor Itzhakh Rashkovsky (2006-2008).

He is a prize winner of many international competitions, including the 12th International Henryk Wieniawski Competition in Poznan (2001, third prize), the 12th International Tchaikovsky Competition (2002, fourth prize), the International Violin Competition Sion in Switzerland (2004, first prize and three special prizes), the Marguerite Long and Jacques Thibaud Competition in Paris (2005, third prize), the Isang Yun Competition in Tongyeong, South Korea (2007, first prize and audience favourite award), and the George Enescu Competition in Bucharest (2011, second prize). He performs in the world's major concert venues as well as participating in the Verbier Festival, the Stars on Baikal Festival, and the Arts Square Festival among many others. In 2010 his solo album "Opera Fantasies" was released by the American label "Delos". Since 2002 he has been a soloist for the Moscow Philharmonic and since 2008 has taught at the Moscow Conservatory.

He is regularly invited to perform in many countries with famous orchestras and musicians, such as Scottish Royal National Orchestra, Russian Chamber Orchestra and Russian National Orchestra, Moscow Philharmonic Orchestra, Prague Philharmonic Orchestra, Dublin National Orchestra, Munich Chamber Orchestra, Moscow Chamber Orchestra and many others.Haik played as a soloist with conductors Andrew Litton, Alexander Liebreich, Alexander Lazarev, Ricardo Averbach, Alan Buribayev, Constantine Orbelian, Jac van Steen, David Brophy, Pavel Kogan, Alexander Polianichko, and a chamber musician with pianists Freddy Kempf, Ekaterina Mechetina, Andrey Shibko, Vadim Kholodenko, violinists Gordan Nikolitch, Boris Brovtsyn, cellists Alexander Bouzlov, Sergey Antonov, Boris Andrianov and many other great musicians of our time.



Ο Haik Kazazian, ένας από τους πιο ταλαντούχους νέους βιολονίστες της γενιάς του, γεννήθηκε στο Ερεβάν, την πρωτεύουσα της Αρμενίας, το 1982. Το 1989, ξεκίνησε τις σπουδές του στη Μουσική Σχολή Sayat-Nova, μελετώντας με τον καθηγητή L. Zoryan. Το 1996, εγκαταστάθηκε στη Μόσχα όπου φοίτησε στο ιστορικό Ωδείο της ρωσικής πρωτεύουσας, με καθηγητή τον Eduard Grach (2000-2006) και κατόπιν στο Βασιλικό Κολέγιο Μουσικής στο Λονδίνο, με καθηγητή τον Itzhakh Rashkovsky (2006-2008).

Έχει λάβει μέρος και έχει βραβευτεί σε πολλούς διεθνείς διαγωνισμούς, όπως στον 12ο Διεθνή Διαγωνισμό Χένρυκ Βινιάφσκι στο Πόζναν της Πολωνίας (2001, τρίτο βραβείο), στον 12ο Διεθνή Διαγωνισμό Τσαϊκόφσκι στη Μόσχα (2002, τέταρτο βραβείο), στον Διεθνή Διαγωνισμό Βιολιού στη Σιόν της Ελβετίας (2004, πρώτο βραβείο και τρία ειδικά βραβεία), στον Διαγωνισμό Marguerite Long & Jacques Thibaud στο Παρίσι (2005, τρίτο βραβείο), στον Διαγωνισμό Isang Yun στην πόλη Tongyeong στη Νότια Κορέα (2007, πρώτο βραβείο και Βραβείο Κοινού) και στον Διαγωνισμό Γκεόργκε Ενέσκου στο Βουκουρέστι (2011, δεύτερο βραβείο). Ο Haik Kazazian έχει εμφανιστεί στις σπουδαιότερες αίθουσες συναυλιών του κόσμου κι έχει επίσης συμμετάσχει σε πολλά από τα σημαντικότερα Φεστιβάλ, όπως το Φεστιβάλ του Βερμπιέρ στην Ελβετία, το Φεστιβάλ Stars on Baikal στη ρωσική πόλη Ιρκούτσκ, και το Φεστιβάλ κλασικής μουσικής Arts Square στην Αγία Πετρούπολη. Το 2010, ηχογράφησε για την αμερικανική δισκογραφική εταιρεία "Delos" το άλμπουμ "Opera Fantasies". Έχει διδάξει στο Ωδείο της Μόσχας, ενώ από το 2010 συμπράττει ως σολίστας με τη Φιλαρμονική της ρωσικής πρωτεύουσας.

Έχει εμφανιστεί σε πολλές χώρες του κόσμου, συμπράττοντας με διάσημες ορχήστρες, ενώ έχει συνεργαστεί με τους μεγαλύτερους μουσικούς της εποχής μας.

















Haik Kazazyan – All the posts

Haik Kazazyan plays Jean Sibelius: Violin Concerto in D minor, & Pyotr Ilyich Tchaikovsky: Violin Concerto in D major – Moscow Philharmonic Orchestra, Yuri Simonov – XV International Tchaikovsky Competition, 2015, Violin / Final Round

Haik Kazazyan plays Grieg, Lutosławski, Milstein, Tchaikovsky & Wieniawski – XV International Tchaikovsky Competition, 2015, Violin / Round 2, First stage


Haik Kazazyan plays Bach, Paganini, Wieniawski & Tchaikovsky – XV International Tchaikovsky Competition, 2015, Violin / Round 1



See also

Daniel Kharitonov – All the posts


Yu-Chien Tseng – All the posts

Lucas Debargue – All the posts

Monday, March 20, 2017

Yu-Chien Tseng – All the posts
















When Yu-Chien Tseng was 5 years old, his teacher called his parents to school because he sang Happy Birthday out of tune.

"She was worried about my hearing, so my parents, who were themselves teachers, enrolled me for violin lessons in the hope that through the process of learning the instrument, I could hear the intonations and imitate melodies", recalls Tseng, a musician who was born in Taipei.

After six months of learning, it turned out that Tseng not only had the perfect pitch but also could play the violin well. In a year, he was performing with the Taipei Symphony Orchestra.

In 2015, Tseng got his big break by winning the second prize at the International Tchaikovsky Competition, the highest prize in the violin contest since nobody won the first prize that year.

"One of the biggest challenges was physical strength", Tseng says about his experience of competing. "I didn't realize I was tired until the next morning after winning the award."

The 22-year-old violinist, who continues to pursue his master's degree at New York's Juilliard School, visited Beijing recently to release his new album, Reverie, for which he selected a variety of solo violin works and sonatas of famous composers that include Giuseppe Tartini's Sonata in G minor, Chopin's Nocturne Op.27 No.2, and Heinrich Wilhelm Ernst's Variations on the Last Rose of Summer.

Reverie was recorded by Tseng after he signed up with Universal Music in August. The album was released under the label Deutsche Grammophon.

"This album means a lot to me. It's a very personal collection of my favorite music", says Tseng, who gave the title of the album symbolizing "dreamy and beautiful music".

One of his favorite pieces in the repertoire is Mozart's Sonata in B flat major, K.454.

"When you play it with emphasis on the contrasts, emotion, energy and drama, the work has many shades of Beethoven, reflecting the violin's romantic spirit", he says.

The selection of Tchaikovsky's Mélodie in E flat major from Souvenir d'un lieu cher, originally for violin and the piano, a rare example of the composer's chamber music, is described as "irresistible" by Tseng.

"It's just one of the most beautiful lines in all of music. When you hear it, you love it", he says.

Tseng recorded the album in Berlin in October along with Sri Lankan pianist Rohan de Silva, who said in an interview that he was impressed by the young violinist' performance.

"I admire his playing, especially his spontaneous response to music", said De Silva, who is renowned for his partnership with violin virtuosos like Itzhak Perlman.

Tseng says he is not good at talking but he can do it with his instrument. The expressiveness of music inspired the musician at an early age to make music his career.

At 13, he knew he needed to expand his musical education abroad. His parents were supportive and Tseng's father, who was a computer science professor back then, quit his job and accompanied him to Philadelphia to attend the Curtis Institute of Music, from where he graduated in 2016.

During his studies there, Tseng met two important violin teachers, Ida Kavafian and Aaron Rosand.

"I was introduced not just to solo violin repertoires I studied in Taiwan but also to chamber music, symphonic music and all the possibilities that one can explore with a violin", Tseng says.

Tseng is a regular performer at competitions and his musical talent enabled him to gain early success.

He won the Sarasate International Violin Competition, which is held annually in Spain, in 2009. In 2011, he was the fifth laureate at the Queen Elisabeth Music Competition in Brussels. He also won the first prize at the inaugural Singapore International Violin Competition in January 2015.

Having performed with the Philadelphia Orchestra, the National Orchestra of Belgium and the symphony orchestras of Singapore, Taipei and Navarra among others, Tseng says he dreams to travel the world as a soloist.

Despite tasting success at such a young age, he says he hasn't changed much.

"I am just always playing and always listening."

Source: Chen Nan (China Daily, January 2017)

















Yu-Chien Tseng – All the posts

Yu-Chien Tseng: Reverie – Giuseppe Tartini, Frédéric Chopin, Wolfgang Amadeus Mozart, Heinrich Wilhelm Ernst, Pyotr Ilyich Tchaikovsky, Henryk Wieniawski – Rohan De Silva (Download 44.1kHz/16bit)

Violinist Yu-Chien Tseng signs to Deutsche Grammophon

Yu-Chien Tseng plays Jean Sibelius: Violin Concerto in D minor, & Pyotr Ilyich Tchaikovsky: Violin Concerto in D major – Moscow Philharmonic Orchestra, Yuri Simonov – XV International Tchaikovsky Competition, 2015, Violin / Final Round


Yu-Chien Tseng plays Mozart, Brahms, Tchaikovsky & Wieniawski – XV International Tchaikovsky Competition, 2015, Violin / Round 2, First stage


Yu-Chien Tseng plays Bach, Paganini, Chopin & Tchaikovsky – XV International Tchaikovsky Competition, 2015, Violin / Round 1



See also

Daniel Kharitonov – All the posts

Haik Kazazyan – All the posts

Lucas Debargue – All the posts

Live on Livestream: All Past Events

Leonard Slatkin conducting the Detroit Symphony Orchestra














Live on Livestream

All Past Events

Darren Creech: Resilience (Performance Keynote) – Works by Sarah Kirkland Snider, Leoš Janáček, Alexander Scriabin, Frédéric Chopin, Sergei Prokofiev and Alberto Ginastera – McGill University, Friday, March 10, 2017, 05:30 PM EST (GMT-5) / Saturday, March 11, 2017, 12:30 AM EET (UTC+2) – Live on Livestream


39th Annual Classical Roots Celebration – Terence Blanchard, Regina Carter, Christine Lamprea – Detroit Symphony Orchestra, Kazem Abdullah – Friday, March 3, 2017, 08:00 PM EST (GMT-5) / Saturday, March 4, 2017, 03:00 AM EET (UTC+2) – Live on Livestream

Gabriela Lena Frank: Walkabout, Concerto for Orchestra | Leonard Bernstein: "I Got Rhythm" Variations, & Second Rhapsody | Charles Tomlinson Griffes: The White Peacock | Dmitri Shostakovich: Symphony No.1 in F minor – Sara Davis Buechner, Detroit Symphony Orchestra, Michelle Merrill – Saturday, February 18, 2017, 08:00 PM EST (GMT-5) / Sunday, February 19, 2017, 03:00 AM EET (UTC+2) – Live on Livestream


Beware of Pity (Ungeduld des Herzens) by Stefan Zweig – Complicite & Schaubühne Berlin, Simon McBurney – Barbican, London – Sunday, February 12, 2017, 03:00 PM GMT / 05:00 PM EET – Live Stream


Wolfgang Amadeus Mozart: Symphony No.38 in D major "Prague", Concerto for Flute and Harp in C major, Symphony No.41 in C major "Jupiter" – Detroit Symphony Orchestra, Leonard Slatkin – Sunday, February 5, 2017, 03:00 AM EET – Live on Livestream


Wolfgang Amadeus Mozart: Serenade for strings No.13 in G major "Eine kleine Nachtmusik", Symphony No.35 in D major "Haffner", Overture to Die Entführung aus dem Serail, Symphony No.36 in C major "Linz" – Detroit Symphony Orchestra, Leonard Slatkin – Friday, February 3, 2017, 05:45 PM EET – Live on Livestream


Wolfgang Amadeus Mozart: Overture to Così fan tutte, Bassoon Concerto in B flat major, Horn Concerto No.4 in E flat major, Symphony No.40 in G minor – Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 29, 2017, 10:00 PM EET – Live on Livestream


Wolfgang Amadeus Mozart: Overture to La clemenza di Tito, Concertone in C major, Horn Concerto No.3 in E flat major, Clarinet Concerto in A major – Detroit Symphony Orchestra, Leonard Slatkin – Saturday, January 28, 2017, 03:00 AM EET – Live on Livestream


Wolfgang Amadeus Mozart: Overture to The Magic Flute, Flute Concerto No.1 in G major, Horn Concerto No.2 in E flat major, Overture to Don Giovanni, Symphony No.39 in E flat major – Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 22, 2017, 10:00 PM – Live on Livestream


Wolfgang Amadeus Mozart: Overture to The Marriage of Figaro, Oboe Concerto in C major, Horn Concerto in D major, Sinfonia concertante in E flat major – Detroit Symphony Orchestra, Leonard Slatkin – Friday, January 20, 2017, 05:45 PM – Live on Livestream


Felix Mendelssohn: Symphony No.5 in D major/D minor "Reformation" | Lalo Schifrin: Tangos Concertantes | Gabriela Lena Frank: Concerto for Orchestra – Cho-Liang Lin, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 15, 2017, 3:00 AM – Live on Livestream


Ludwig van Beethoven: Overture to The Creatures of Prometheus, & Piano Concerto No.2 in B flat major | Edward Elgar: Symphony No.1 in A flat major – Emanuel Ax, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 11, 2016, 10:00 PM – Live on Livestream



Storm Large, Detroit Symphony Orchestra















Kurt Weill: The Seven Deadly Sins | William Walton: Façade Orchestral Suite No.1, & Symphony No.1 in B flat minor – Storm Large, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 4, 2016, 3:00 AM – Live on Livestream


The King's Singers: Christmas Songbook – The Greene Space, New York – Thursday, December 1, 2016, 2:00 AM – Live on Livestream


Prokofiev, a Russian Giant – MSU Symphony Orchestra, Kevin Noe – Tuesday, November 29, 2:30 AM – Live on Livestream


Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Sunday, November 20, 10:00 PM – Live on Livestream


Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor | Béla Bartók: Concerto for Orchestra – Kirill Gerstein, Detroit Symphony Orchestra, Jun Märkl – Sunday, November 20, 2016, 3:00 AM – Live on Livestream


Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Saturday, November 19, 2016, 2:30 AM – Live on Livestream


Ludwig van Beethoven: Symphony No.4 in B flat major | Gustav Mahler: Das Lied von der Erde – Detroit Symphony Orchestra, Louis Langrée – Sunday, November 13, 2016, 3:00 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Tuesday, November 8, 2:30 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Sunday, November 6, 9:00 PM – Live on Livestream


Giacomo Puccini: La Bohème – Maribel Salazar, Mario Rojas, Orquesta & Coro del Teatro de Bellas Artes, Enrique Patron de Rueda – Monday, November 7, 2016, 1:00 AM – Live on Livestream


Anne Nispel and Elden Little interpret songs by Ralph Vaughan Williams, Franz Schubert, Gabriel Fauré, Ned Rorem, Samuel Barber, Carlos Gustavino, Jayme Ovalle and Miguel Sandoval – Sunday, November 6, 2016, 02:00 AM – Live on Livestream


Jennifer Johnston and Joseph Middleton interpret songs by Gustav Mahler, Richard Wagner and Franz Liszt – Saturday, November 5, 2016, 09:30 PM – Live on Livestream


Ian Buckle plays Frédéric Chopin: Prelude in C sharp minor, & Claude Debussy: Préludes, Book I – Friday, November 4, 2016, 03:00 PM – Live on Livestream


Jean Sibelius: Valse triste | Édouard Lalo: Symphonie espagnole in D minor | Johannes Brahms: Symphony No.2 in D major – Ray Chen, Orquesta Sinfónica Nacional, Christian Vásquez – Rebroadcast / Livestream



The King's Singers













Sunday, March 19, 2017

Daniel Kharitonov – All the posts
















Born in Yuzhno-Sakhalinsk in the Russian Far East on December 22, 1998, Daniel Kharitonov emerged as one of the brightest talents of the 15th Tchaikovsky International Competition in 2015 at the age of 16, when his triumphant performance brought him the Third Prize.

Since his successful debut with The Mariinsky Orchestra under Valery Gergiev in 2013, Kharitonov became a regular with the orchestra and has already toured with them to China and Italy, and performed across Russia on the Moscow Easter Festival tours in 2014 and 2015. Other highlights in his native Russia include concerts with the State Academic Symphony Orchestra "Evgeny Svetlanov" and National Philharmonic of Russia, and recitals in halls such as the Tchaikovsky Concert Hall, Great Hall of the Moscow Conservatory and Moscow International Performing Arts Center. He has participated at festivals such as Stars of the White Nights, Stars on Baikal and Crescendo, and regularly works with the Spivakov International Charity Foundation in Moscow.

Elsewhere, Kharitonov gave an electrifying performance at Carnegie Hall in 2013 as part of the Musical Olympus International Festival's gala concert and has also appeared at the Annecy Classic and International de Colmar festivals in France.

In early 2016 Kharitonov debuted with the China Philharmonic Orchestra, Guangzhou Symphony Orchestra and Orquestra Sinfônica Municipal de São Paulo to great critical acclaim and returned to Japan with the Moscow State Symphony Orchestra under Pavel Kogan. Later this season Kharitonov will appear in recital at the Duszniki International Chopin Piano Festival, Schubertíada a Vilabertran and as part of the Scherzo Jóvenes Intérpretes series. Upcoming concert performances include his much anticipated debut with the London Chamber Orchestra under Vladimir Ashkenazy and a tour of China with the National Philharmonic of Russia under Vladimir Spivakov.

Source: harrisonparrott.com

















Daniel Kharitonov – All the posts

Franz Liszt: Piano Concerto No.1 in E flat major – Daniel Kharitonov, State Academic Symphony Orchestra "Evgeny Svetlanov", Valentin Uryupin

Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor – Daniel Kharitonov, Tatarstan National Symphony Orchestra, Alexander Sladkovsky

Daniel Kharitonov plays Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor, & Franz Liszt: Piano Concerto No.1 in E flat major – State Academic Symphony Orchestra "Evgeny Svetlanov", Alexey Bogorad – XV International Tchaikovsky Competition, 2015, Piano / Final Round

Daniel Kharitonov plays Wolfgang Amadeus Mozart: Piano Concerto No.9 in E flat major "Jeunehomme" – Moscow Soloists Chamber Orchestra, Ayrton Desimpelaere – XV International Tchaikovsky Competition, 2015, Piano / Round 2, Second stage

Daniel Kharitonov plays Johann Sebastian Bach, Franz Liszt & Sergei Rachmaninov – XV International Tchaikovsky Competition, 2015, Piano / Round 2, First stage


Daniel Kharitonov plays Bach, Beethoven, Tchaikovsky, Liszt, Chopin & Rachmaninov – XV International Tchaikovsky Competition, 2015, Piano / Round 1



See also

Haik Kazazyan – All the posts

Yu-Chien Tseng – All the posts

Lucas Debargue – All the posts

Friday, March 17, 2017

Franz Liszt: Piano Concerto No.1 in E flat major – Daniel Kharitonov, State Academic Symphony Orchestra "Evgeny Svetlanov", Valentin Uryupin














The award-winning pianist Daniel Kharitonov plays Franz Liszt's Piano Concerto No.1 in E flat major with State Academic Symphony Orchestra "Evgeny Svetlanov" under Valentin Uryupin, one of the most promising Russian conductors of the younger generation. Recorded in Tchaikovsky Concert Hall, on January 19, 2017.



Δύο χρόνια περίπου μετά τη συμμετοχή του στον Διεθνή Διαγωνισμό Τσαϊκόφσκι, όπου διακρίθηκε με το τρίτο βραβείο, ο 19χρονος Ρώσος πιανίστας Daniel Kharitonov ερμηνεύει και πάλι με τη State Academic Symphony Orchestra "Evgeny Svetlanov", αλλά αυτήν τη φορά υπό τη διεύθυνση ενός από τους πλέον υποσχόμενους Ρώσους μαέστρους της νεότερης γενιάς, του Valentin Uryupin, το Κοντσέρτο για πιάνο αρ. 1 σε Μι ύφεση μείζονα, S.124, του Φραντς Λιστ. Η συναυλία έλαβε χώρα στο Μέγαρο Μουσικής «Τσαϊκόφσκι», στις 19 Ιανουαρίου 2017.



Franz Liszt (1811-1886)

♪ Piano Concerto No.1 in E flat major, S.124 (1835-1856)

i. Allegro maestoso
ii. Quasi adagio
iii. Allegretto vivace. Allegro animato
iv. Allegro marziale animato

Daniel Kharitonov, piano

State Academic Symphony Orchestra "Evgeny Svetlanov"
Conductor: Valentin Uryupin

Tchaikovsky Concert Hall, January 19, 2017

(HD 720p)
















The genesis of Liszt's Piano Concerto No.1 in E flat major dates to 1830, when the composer sketched out the main theme in a notebook. It wasn't until the 1840s, however, that Liszt actually commenced work on the concerto. As a neophyte in the art of orchestration – his output to that point consisted almost entirely of keyboard music – Liszt enlisted the assistance of his pupil Joachim Raff in providing the work an instrumental skin. Liszt completed the concerto in 1849 but made a number of revisions over the next several years. The final version of the work dates from 1856.

Source: Robert Cummings (allmusic.com)



The Piano Concerto No.1 in E flat major premiered in Weimar on February 17, 1855, with Liszt at the piano and Hector Berlioz conducting.


Orchestration: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, cymbals, triangle, strings, and solo piano.



Ο Φραντς Λιστ έγραψε έργα για ορχήστρα, για πιάνο και ορχήστρα, χορωδιακά και έργα για σόλο πιάνο. Τα τελευταία είναι και τα πιο δεξιοτεχνικά, αφού ο ίδιος, με την εκπληκτική τεχνική του, εκμεταλλεύτηκε όλες τις δυνατότητες του οργάνου. Στα έργα του εναλλάσσονται στιγμές υπερβολικής δεξιοτεχνίας με στιγμές λυρισμού και ποιητικότητας και εμφανίζονται πολλές αρμονικές και μορφολογικές καινοτομίες. Ενδεικτικά παραδείγματα των μορφολογικών καινοτομιών του είναι τα δύο Κοντσέρτα για πιάνο και ορχήστρα και η Σονάτα για πιάνο. Το Πρώτο Κοντσέρτο, σε Μι ύφεση μείζονα, το επεξεργαζόταν από το 1830 αλλά το παρουσίασε στην τελική μορφή του το 1855. Δεν ακολουθεί την παραδοσιακή δομή του κοντσέρτου, ενώ σε όλα τα μέρη του έργου επεξεργάζεται το ίδιο θεματικό υλικό. Εξαιρετικά ασυνήθιστη για την εποχή ήταν η χρήση του τριγώνου στο τρίτο μέρος. Όπως το Δεύτερο Κοντσέρτο, σε Λα μείζονα, το οποίο γράφτηκε μεταξύ των ετών 1839 και 1861, έργο που επίσης δεν ακολουθεί την παραδοσιακή δομή, αλλά και η Σονάτα για πιάνο, σε Σι μείζονα, η οποία ολοκληρώθηκε το 1853 και παρουσιάστηκε στο κοινό το 1858, το Πρώτο Κοντσέρτο αντιμετωπίστηκε με την ίδια δυσπιστία από τους κριτικούς και μόνο τον 20ό αιώνα καθιερώθηκε στο πιανιστικό ρεπερτόριο.

Πηγή: el.wikipedia.org



Το Κοντσέρτο για πιάνο αρ. 1 σε Μι ύφεση μείζονα, S.124, του Φραντς Λιστ, παρουσιάστηκε για πρώτη φορά στη Βαϊμάρη στις 17 Φεβρουαρίου 1855, με τον συνθέτη στο πιάνο και διευθυντή ορχήστρας τον Εκτόρ Μπερλιόζ.


Μουσικά όργανα που απαιτούνται για την εκτέλεση του έργου: πίκολο (έχει το μισό μέγεθος από το φλάουτο και είναι μια οκτάβα ψηλότερο), 2 φλάουτα, 2 όμποε, 2 κλαρινέτα, 2 φαγκότα, 2 κόρνα, 2 τρομπέτες, 3 τρομπόνια, τύμπανα, κύμβαλα, τρίγωνο, έγχορδα και σόλο πιάνο.















Born in Yuzhno-Sakhalinsk in the Russian Far East on December 22, 1998, Daniel Kharitonov emerged as one of the brightest talents of the 15th Tchaikovsky International Competition in 2015 at the age of 16, when his triumphant performance brought him the Third Prize.

Since his successful debut with The Mariinsky Orchestra under Valery Gergiev in 2013, Kharitonov became a regular with the orchestra and has already toured with them to China and Italy, and performed across Russia on the Moscow Easter Festival tours in 2014 and 2015. Other highlights in his native Russia include concerts with the State Academic Symphony Orchestra "Evgeny Svetlanov" and National Philharmonic of Russia, and recitals in halls such as the Tchaikovsky Concert Hall, Great Hall of the Moscow Conservatory and Moscow International Performing Arts Center. He has participated at festivals such as Stars of the White Nights, Stars on Baikal and Crescendo, and regularly works with the Spivakov International Charity Foundation in Moscow.

Elsewhere, Kharitonov gave an electrifying performance at Carnegie Hall in 2013 as part of the Musical Olympus International Festival's gala concert and has also appeared at the Annecy Classic and International de Colmar festivals in France.

In early 2016 Kharitonov debuted with the China Philharmonic Orchestra, Guangzhou Symphony Orchestra and Orquestra Sinfônica Municipal de São Paulo to great critical acclaim and returned to Japan with the Moscow State Symphony Orchestra under Pavel Kogan. Later this season Kharitonov will appear in recital at the Duszniki International Chopin Piano Festival, Schubertíada a Vilabertran and as part of the Scherzo Jóvenes Intérpretes series. Upcoming concert performances include his much anticipated debut with the London Chamber Orchestra under Vladimir Ashkenazy and a tour of China with the National Philharmonic of Russia under Vladimir Spivakov.

Source: harrisonparrott.com







































More photos


See also

Daniel Kharitonov – All the posts

Thursday, March 16, 2017

Με αιχμές κατά της κυβέρνησης, παραιτήθηκε ο Γιώργος Κιμούλης από την Προεδρία του Ιδρύματος Σταύρος Νιάρχος

















Με μια σκληρή επιστολή γεμάτη αιχμές κατά της κυβέρνησης, ο Γιώργος Κιμούλης ανακοινώνει την παραίτησή του από την Προεδρία του Ιδρύματος Σταύρος Νιάρχος.

– «Διόρισαν τον πρώην διευθυντή του Μεγάρου Μουσικής για να υποκαταστήσουν όλο το ΔΣ»
– «Δεν θα συναινέσω σε διαδικασίες που μελλοντικά μπορεί να προκαλέσουν υπόνοιες αδιαφάνειας»
– «Ουδέποτε έχω παίξει ρόλο σε πολιτικά παρασκηνιακά παιχνίδια ή σε εσωκομματικές συγκρούσεις, όπως επίσης ουδέποτε υπήρξα παιδί κομματικού σωλήνα»

Με μια επιστολή παραίτησης «φωτιά», ο Γιώργος Κιμούλης ανακοινώνει την παραίτησή του από τη θέση του Προέδρου του Κέντρου Πολιτισμού Ίδρυμα Σταύρος Νιάρχος (ΚΠΙΣΝ). Ο κ. Κιμούλης μιλάει ανοικτά για κομματικές τοποθετήσεις στο Διοικητικό Συμβούλιο του Ιδρύματος και τονίζει ότι με τις υπάρχουσες συνθήκες δεν μπορεί να παράξει έργο!

Αναφέρει χαρακτηριστικά: «Σε καμία περίπτωση δεν προτίθεμαι να συμβάλλω στην ακύρωση της δυναμικής του Κέντρου Πολιτισμού Ίδρυμα Σταύρος Νιάρχος, αλλά ούτε και να συναινέσω σε διαδικασίες που μελλοντικά μπορεί να προκαλέσουν υπόνοιες αδιαφάνειας».

Ο κ. Κιμούλης αναφέρει επίσης ότι «...ο διορισμένος εκ του Υπουργείου Οικονομικών διευθύνων σύμβουλος κ. Μανωλόπουλος – πρώην Διευθυντής του Οργανισμού Μεγάρου Μουσικής Αθηνών – υποκαθιστά στην ουσία όλο το Διοικητικό Συμβούλιο εκμεταλλευόμενος τις εύθραυστες εσωτερικές ισορροπίες του κυβερνώντος κόμματος στις οποίες αρνούμαι να συμμετέχω».

Σε άλλο σημείο της επιστολής παραίτησής του, ο κ. Κιμούλης αναφέρει ότι «Οι δημόσιες θέσεις δεν είναι επισφράγιση κοινωνικής αποκατάστασης ούτε κάλυψη κάποιου υπαρξιακού κενού. Ναι μεν στήριξα δημοσίως τον ΣΥΡΙΖΑ γιατί έκρινα πως ήταν η μοναδική λύση εκείνη την περίοδο για τη χώρα μου, αλλά δεν το έκανα για να εγκατασταθώ σε κάποια θέση. Ούτως ή άλλως έχει κατά κόρον γραφτεί πως έχω αρνηθεί αρκετές προτάσεις στο παρελθόν για θέσεις ιδιαίτερα σημαντικές. Ευτυχώς για μένα δεν είμαι ανέστιος. Έχω τον τόπο της τέχνης μου. Εκεί κατοικώ. Ουδέποτε έχω παίξει ρόλο σε πολιτικά παρασκηνιακά παιχνίδια ή σε εσωκομματικές συγκρούσεις, όπως επίσης ουδέποτε υπήρξα παιδί κομματικού σωλήνα. Ας ελπίσουμε, για το καλό όλων και του ΚΠΙΣΝ η παραίτηση αυτή να αναγκάσει τους αρμόδιους να σκεφτούν με μεγαλύτερη προσοχή τον τρόπο λειτουργίας του».


Ολόκληρη η επιστολή παραίτησης του Γιώργου Κιμούλη

Το Κέντρο Πολιτισμού Ίδρυμα Σταύρος Νιάρχος αποτελεί σήμερα το μεγαλύτερο στοίχημα δυναμικού μετασχηματισμού του πολιτισμικού μας χάρτη. Η τεράστια ευθύνη διοίκησης είχε εξ αρχής ως δεσμευτική παράμετρο την συγκρότηση ενός συλλογικά δημιουργικού και αποφασιστικού Διοικητικού Συμβουλίου το οποίο θα λειτουργεί με απόλυτη διαφάνεια.

Η τελική αποκρυστάλλωση όμως της διοικητικής έκφρασης, προϊόν αναίτιων πολυήμερων «εσωκομματικών διαπραγματεύσεων», απεδείχθη στην πράξη κατώτερη των περιστάσεων. Παρά το συμφωνημένο πλαίσιο, ο διορισμένος εκ του Υπουργείου Οικονομικών διευθύνων σύμβουλος κ. Μανωλόπουλος – πρώην Διευθυντής του Οργανισμού Μεγάρου Μουσικής Αθηνών – υποκαθιστά στην ουσία όλο το Διοικητικό Συμβούλιο εκμεταλλευόμενος τις εύθραυστες εσωτερικές ισορροπίες του κυβερνώντος κόμματος στις οποίες αρνούμαι να συμμετέχω.

Ως μέλος μιας συλλογικότητας που δεν δύναται να ενεργοποιηθεί τελικώς – παρ' όλες τις προσπάθειες που κατέβαλα όλον αυτόν τον καιρό – και ενός ασαφούς τοπίου καλλιτεχνικής διεύθυνσης που αρχίζει να διαμορφώνεται πλέον καθιστώντας σχεδόν απαγορευτικό οποιοδήποτε παραγόμενο έργο εκ μέρους του Κ.Π.Ι.Σ.Ν. ΑΕ, υπέβαλα σήμερα την παραίτησή μου προς το Διοικητικό Συμβούλιο. Σε καμία περίπτωση δεν προτίθεμαι να συμβάλλω στην ακύρωση της δυναμικής του Κέντρου Πολιτισμού Ίδρυμα Σταύρος Νιάρχος, αλλά ούτε και να συναινέσω σε διαδικασίες που μελλοντικά μπορεί να προκαλέσουν υπόνοιες αδιαφάνειας.

Οι δημόσιες θέσεις δεν είναι επισφράγιση κοινωνικής αποκατάστασης ούτε κάλυψη κάποιου υπαρξιακού κενού. Ναι μεν στήριξα δημοσίως τον ΣΥΡΙΖΑ γιατί έκρινα πως ήταν η μοναδική λύση εκείνη την περίοδο για τη χώρα μου, αλλά δεν το έκανα για να εγκατασταθώ σε κάποια θέση. Ούτως ή άλλως έχει κατά κόρον γραφτεί πως έχω αρνηθεί αρκετές προτάσεις στο παρελθόν για θέσεις ιδιαίτερα σημαντικές. Ευτυχώς για μένα δεν είμαι ανέστιος. Έχω τον τόπο της τέχνης μου. Εκεί κατοικώ. Ουδέποτε έχω παίξει ρόλο σε πολιτικά παρασκηνιακά παιχνίδια ή σε εσωκομματικές συγκρούσεις, όπως επίσης ουδέποτε υπήρξα παιδί κομματικού σωλήνα. Ας ελπίσουμε, για το καλό όλων και του ΚΠΙΣΝ η παραίτηση αυτή να αναγκάσει τους αρμόδιους να σκεφτούν με μεγαλύτερη προσοχή τον τρόπο λειτουργίας του. 

Τέλος θα ήθελα να υπενθυμίσω δύο βασικά πράγματα: πρώτον η αξιοπρέπεια δεν έχει ανταλλακτική αξία και δεύτερον όταν ρίχνουμε κάποιον εν γνώσει μας στην αρένα, δεν τον αφήνουμε μόνο του να κοιτάζει τι θα δείξει ο αντίχειρας.

Με εκτίμηση

Γιώργος Κιμούλης


Πηγή: newsit.gr (Πέμπτη 16 Μαρτίου 2017)


Κέντρο Πολιτισμού Ίδρυμα Σταύρος Νιάρχος













Wednesday, March 15, 2017

Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor – Daniel Kharitonov, Tatarstan National Symphony Orchestra, Alexander Sladkovsky














The award-winning pianist Daniel Kharitonov plays Pyotr Ilyich Tchaikovsky's Piano Concerto No.1 in B flat minor, Op.23, with Tatarstan National Symphony Orchestra under the vibrant Russian conductor Alexander Sladkovsky, acclaimed as an aristocrat among the new generation of Russian conductors. Recorded in Mariinsky Theatre Concert Hall, on January 23, 2015.



Λίγους μήνες προτού συμμετάσχει στον 15ο Διεθνή Διαγωνισμό Τσαϊκόφσκι, όπου διακρίθηκε με το τρίτο βραβείο, ο 19χρονος σήμερα Ρώσος πιανίστας Daniel Kharitonov ερμηνεύει το Κοντσέρτο για πιάνο αρ. 1 σε Σι ύφεση ελάσσονα, έργο 23, του Πιότρ Ιλίτς Τσαϊκόφσκι. Την Εθνική Συμφωνική Ορχήστρα του Ταταρστάν διευθύνει ο διακεκριμένος Ρώσος μαέστρος Alexander Sladkovsky. Η συναυλία έλαβε χώρα στην Αίθουσα Συναυλιών του Θεάτρου Μαριίνσκι, στις 23 Ιανουαρίου 2015.



Pyotr Ilyich Tchaikovsky (1840-1893)

♪ Piano Concerto No.1 in B flat minor, Op.23 (1874-1875, 1879, 1888)

i. Allegro non troppo e molto maestoso
ii. Andantino semplice
iii. Allegro con fuoco

Daniel Kharitonov, piano

Tatarstan National Symphony Orchestra
Conductor: Alexander Sladkovsky

Mariinsky Theatre Concert Hall, January 23, 2015

(HD 720p)















The Piano Concerto No.1 in B flat minor, Op.23, was composed by Pyotr Ilyich Tchaikovsky between November 1874 and February 1875. It was revised in the summer of 1879 and again in December 1888. The first version received heavy criticism from Nikolai Rubinstein, Tchaikovsky's desired pianist. Rubinstein later repudiated his previous accusations and became a fervent champion of the work. It is one of the most popular of Tchaikovsky's compositions and among the best known of all piano concertos.

Source: en.wikipedia.org



Ο Πιότρ Ιλίτς Τσαϊκόφσκι άρχισε να συνθέτει το Κοντσέρτο για πιάνο αρ. 1 σε Σι ύφεση ελάσσονα, έργο 23, τον Νοέμβριο του 1874 και το ολοκλήρωσε τον Φεβρουάριο του 1875. Αρχικά σκόπευε να το αφιερώσει στον φίλο του, πιανίστα Νικολάι Ρουμπινστάιν (1835-1881), αλλά όταν αυτός σε μια πρώτη ακρόαση του έργου στο Ωδείο της Μόσχας, στις 5 Ιανουαρίου 1875, το χαρακτήρισε «κοινότοπο» και «προχειροφτιαγμένο», οι σχέσεις των δύο ανδρών ψυχράνθηκαν. Ο συνθέτης ένιωσε βαθύτατα πληγωμένος και απέσυρε την αφιέρωση, την οποία πρόσφερε στον Γερμανό πιανίστα και διευθυντή ορχήστρας Χανς φον Μπίλοβ (1830-1894), ο οποίος σε ένα πρόσφατο άρθρο του είχε χαρακτηρίσει τον Τσαϊκόφσκι «έναν πολλά υποσχόμενο συνθέτη».

Ο φον Μπίλοβ κολακεύτηκε από την αφιέρωση και στην ευχαριστήρια επιστολή του προς τον συνθέτη του δήλωνε τον θαυμασμό του και τον κατέτασσε μεταξύ των πέντε καλύτερων σύγχρονων συνθετών τους οποίους εκτιμούσε· οι άλλοι τέσσερεις ήταν οι Μπραμς, Ραφ, Ραϊνμπέργκερ και Σαιν-Σανς. Στις 25 Οκτωβρίου του 1875 ο Μπίλοβ παρουσίασε για πρώτη φορά το Κοντσέρτο, στη Βοστόνη των ΗΠΑ, όπου βρισκόταν για καλλιτεχνική περιοδεία, ενθουσιάζοντας κοινό και κριτικούς.

Στις 13 Νοεμβρίου του ίδιου χρόνου ήταν η σειρά του ρωσικού μουσικόφιλου κοινού να υποδεχθεί θερμά το Κοντσέρτο του Τσαϊκόφσκι. Το πρωτοπαρουσίασε σε συναυλία στην Αγία Πετρούπολη ο Ρώσος πιανίστας και μουσικοδιδάσκαλος  Γκούσταβ Κρος (1831-1885). Λίγες ημέρες αργότερα, στις 3 Δεκεμβρίου, ήταν σειρά των κατοίκων της Μόσχας να αποθεώσουν τον συνθέτη. Το Κοντσέρτο ερμήνευσε ο Νικολάι Ρουμπινστάιν, ο οποίος, εν τω μεταξύ, είχε αναθεωρήσει τη στάση του απέναντι στο έργο και από δεινός επικριτής του είχε μεταμορφωθεί σε ενθουσιώδη υποστηρικτή του. Σε αναθεωρήσεις του έργου προέβη και ο Τσαϊκόφσκι, λαμβάνοντας σοβαρά, όπως φαίνεται τις υποδείξεις του φίλου του. Η πρώτη έγινε το καλοκαίρι του 1879 και η οριστική τον Δεκέμβριο του 1888.

Πηγή: sansimera.gr















Born in Yuzhno-Sakhalinsk in the Russian Far East on December 22, 1998, Daniel Kharitonov emerged as one of the brightest talents of the 15th Tchaikovsky International Competition in 2015 at the age of 16, when his triumphant performance brought him the Third Prize.

Since his successful debut with The Mariinsky Orchestra under Valery Gergiev in 2013, Kharitonov became a regular with the orchestra and has already toured with them to China and Italy, and performed across Russia on the Moscow Easter Festival tours in 2014 and 2015. Other highlights in his native Russia include concerts with the State Academic Symphony Orchestra "Evgeny Svetlanov" and National Philharmonic of Russia, and recitals in halls such as the Tchaikovsky Concert Hall, Great Hall of the Moscow Conservatory and Moscow International Performing Arts Center. He has participated at festivals such as Stars of the White Nights, Stars on Baikal and Crescendo, and regularly works with the Spivakov International Charity Foundation in Moscow.

Elsewhere, Kharitonov gave an electrifying performance at Carnegie Hall in 2013 as part of the Musical Olympus International Festival's gala concert and has also appeared at the Annecy Classic and International de Colmar festivals in France.

In early 2016 Kharitonov debuted with the China Philharmonic Orchestra, Guangzhou Symphony Orchestra and Orquestra Sinfônica Municipal de São Paulo to great critical acclaim and returned to Japan with the Moscow State Symphony Orchestra under Pavel Kogan. Later this season Kharitonov will appear in recital at the Duszniki International Chopin Piano Festival, Schubertíada a Vilabertran and as part of the Scherzo Jóvenes Intérpretes series. Upcoming concert performances include his much anticipated debut with the London Chamber Orchestra under Vladimir Ashkenazy and a tour of China with the National Philharmonic of Russia under Vladimir Spivakov.

Source: harrisonparrott.com



















































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