The International Tchaikovsky Competition, first held more than 50 years ago, is not only a valuable asset of Russian musical culture but is also one of the major events in the international music community. The International Tchaikovsky Competition is held once every four years.
The first, in 1958, included two disciplines – piano and violin. Beginning with the second competition, in 1962, a cello category was added, and the vocal division was introduced during the third competition in 1966. In 1990, a fifth discipline was announced for the IX International Tchaikovsky Competition – a contest for violin makers which was held before the main competition.
The XV International Tchaikovsky Competition was held in Moscow and St Petersburg from June 15 to July 3, 2015, and was dedicated to the 175th anniversary of the great Russian composer.
In the competition participated more than 600 artists from 45 countries.
On the jury for piano was the distinguished pianists Dmitri Bashkirov, Boris Berezovsky, Michel Béroff, Peter Donohoe, Sergei Dorensky, Barry Douglas, Denis Matsuev, Vladimir Ovchinnikov, Alexander Toradze, Vladimir Feltsman, Klaus Hellwig, and the founder and director of the Verbier International Festival and Academy, Martin Engström.
The pianists competing at the XV International Tchaikovsky Competition must perform, during the second round of the Competition, one of the seven piano concertos written by Mozart and selected by the Competition.
Mozart completed his Piano Concerto No.20 in D minor on February 10, 1785, and played the first performance the next evening in Vienna. Scoring adds a flute and two trumpets to winds, horns, timpani, and strings.
On February 11, 1785, Leopold Mozart arrived in Vienna after a wintry, bone-rattling, coach journey from Salzburg – his first visit to the capital in 12 years and his last. On the same night he attended an Akademie by his celebrated son, who had just turned 29 and was at the peak of his popularity in ever-fickle Vienna. Leopold wrote to daughter Nannerl that, in the Casino on the Mehlgrube, he beheld "a vast concourse of people of rank... The concert was incomparable, the orchestra excellent". After two arias by a singer from the Italian opera, there "came a new, superb piano concerto by Wolfgang, which the copyist was still writing when we arrived, and the rondo of which your brother hadn't time to play because he had to revise copies [of the orchestral parts]". This was the trailblazing D minor Concerto that survived the neglect of so much of Mozart's music during the nineteenth century. Beethoven, both smitten and influenced, played it publicly, with his own cadenzas in the first and last movements, where Mozart had improvised. No reports have survived of the audience's acceptance, but had they been hostile or even cool, surely Leopold would have reported this to Nannerl. His son's marriage without paternal permission in 1782 to Constanze Weber still rankled; so did their newfound independence. However, Papa's immediate and unreserved acceptance of Wolfgang's departures from tradition in the new concerto – beginning immediately with an agitated, subtly changing bass line beneath the throbbing syncopation of violins and violas – revealed a flexibility otherwise missing in his personal character. One can almost admire the manipulative Leopold for that.
In the first movement, Allegro (D minor, common time), Mozart's themes are motivic rather than conventionally melodic; more than two centuries later it remains a miracle that the soloist never plays exactly what the orchestra sets forth in the exposition, despite a rock-solid sonata structure throughout. When the piano finally enters in measure 77, it does so as an alien in a threateningly troubled land. Nor does the soloist take complete charge until the coda of the finale where, half-an-hour later, he coaxes the music into D major.
The second movement is a Romanza (B flat major, common time). Not to underrate Mozart's incomparable genius in music before this, nothing had equaled the unity of expression achieved in 1785 and after. Beyond integrating the outer movements, he made the slow movement part and parcel of the whole. This Romanza without tempo marking (but clearly Andante) is a rondo in ABACA form that plunges dramatically into G minor before the end couplet – a significant harmonic departure not just here but in the concerto's overall context.
Mozart returns to D minor ion the third movement (Allegro assai; alla breve). Until the coda, we hear one of Mozart's rare rondos in a minor key. More precisely, it is an extended sonata-rondo (ABACDA, plus coda), since C is a development, with the reprise in section D. The development again as before in the second movement seeks out G minor – the darkest key in Mozart's harmonic lexicon – before D major is finally allowed to break through, albeit a whitish and wintry sun.
Source: Roger Dettmer (allmusic.com)
Ο 15ος Διεθνής Διαγωνισμός Τσαϊκόφσκι, ο οποίος ήταν αφιερωμένος στην 175η επέτειο από τη γέννηση του μεγάλου Ρώσου συνθέτη, πραγματοποιήθηκε στη Μόσχα και στην Αγία Πετρούπολη από τις 15 Ιουνίου έως τις 3 Ιουλίου 2015.
Στο πλαίσιο του δεύτερου γύρου – στο δεύτερο από τα δύο στάδια – του διαγωνισμού στην κατηγορία του πιάνου, ο Ρώσος πιανίστας Dmitry Masleev (γενν. 1988), ο οποίος έλαβε την πρώτη θέση, ερμήνευσε το Κοντσέρτο για πιάνο αρ. 20 σε Ρε ελάσσονα, K.466 του Βόλφγκανγκ Αμαντέους Μότσαρτ. Την Ορχήστρα Δωματίου της Μόσχας διηύθυνε ο διεθνούς φήμης Ρώσος ομποΐστας και αρχιμουσικός Alexey Utkin.
Η συναυλία έλαβε χώρα στη Μεγάλη Αίθουσα του Ωδείου της Μόσχας, στις 25 Ιουνίου 2015.
Ο Διεθνής Διαγωνισμός Τσαϊκόφσκι, ο οποίος πραγματοποιείται κάθε τέσσερα χρόνια, είναι ίσως ο σημαντικότερος διαγωνισμός στο χώρο της κλασικής μουσικής. Ο διαγωνισμός διοργανώθηκε για πρώτη φορά το 1958, περιλαμβάνοντας μόνο δύο κατηγορίες: του βιολιού και του πιάνου. Το 1962, στη δεύτερη διοργάνωση, προστέθηκε η κατηγορία του βιολοντσέλου, ενώ στην τρίτη διοργάνωση του διαγωνισμού, το 1966, προστέθηκε ακόμη η κατηγορία της φωνής.
Στον 15ο Διαγωνισμό, το 2015, συμμετείχαν περισσότεροι από εξακόσιοι καλλιτέχνες από 45 χώρες, οι οποίοι διαγωνίστηκαν και στις τέσσερεις κατηγορίες: πιάνο, βιολί, βιολοντσέλο και φωνή.
Την κριτική επιτροπή για την κατηγορία του πιάνου αποτελούσαν οι διακεκριμένοι πιανίστες Dmitri Bashkirov, Boris Berezovsky, Michel Béroff, Peter Donohoe, Sergei Dorensky, Barry Douglas, Denis Matsuev, Vladimir Ovchinnikov, Alexander Toradze, Vladimir Feltsman, Klaus Hellwig, καθώς επίσης και ο Martin Engström, ιδρυτής και διευθυντής του Διεθνούς Φεστιβάλ και της Ακαδημίας του Βερμπιέρ.
XV International Tchaikovsky Competition, 2015, Piano / Round 2, Second stage
Wolfgang Amadeus Mozart (1756-1791)
♪ Piano Concerto No.20 in D minor, K.466 (1785)
iii. Allegro vivace assai
Dmitry Masleev, piano – First Prize
Moscow Chamber Orchestra
Conductor: Alexey Utkin
Great Hall of the Moscow Conservatory, June 25, 2015
The triumphant winner of the latest International Tchaikovsky Competition (2015), Dmitry Masleev took the First Prize and the international spotlight with wholehearted support from the audience, the jury, and the media. In his first touring season Mr. Masleev made a series of successful debuts, establishing his world-wide audience and developing his profile as a "future great pianist" (La Croix) of "virtuoso brilliance" (The Financial Times) and "musicality of metaphysical proportions" (Neue Musikzeitung ). Amongst the most notable performances are those at the Klavierfestival Ruhr, the Philharmonie am Gasteig in Munich, la Roque d'Anthéron and Bergamo & Brescia piano festivals, two tours of Japan with Valery Gergiev and Yury Bashmet, the French debut with Orchestre National du Capitole de Toulouse, the opening gala of the Istanbul Festival, as well as the last-minute replacement for the indisposed Maurizio Pollini in Basel.
These performances have inspired an ever-growing demand for Mr. Masleev's artistry. In January 2017, Carnegie Hall will present Mr. Masleev's highly anticipated debut at the Isaac Stern Auditorium with a recital programme featuring works by Scarlatti, Beethoven, Liszt, Rachmaninov and Prokofiev. The 2016-2017 season will also see him perform in Paris twice: at the Paris Philharmonie and the Fondation Louis Vuitton. He is honoured to return to the Philharmonie am Gasteig at Valery Gergiev's invitation to play the first three of Prokofiev's piano sonatas; later in the season he will perform in Munich once again, this time with the Munich Philharmonic Orchestra and the Beethoven Piano Concerto No.1. Mr. Masleev's orchestral collaborations also include a German tour with the National Philharmonic of Russia under Maestro Spivakov, an Asian tour with the Orchestre Philharmonique de Radio France under Mikko Franck, and a performance of Rachmaninov Variations on a Theme of Paganini with the Berlin Radio Symphony Orchestra and Robert Trevino. He will continue his tour of Germany's most prestigious festivals with recitals at Rheingau, Mecklenburg-Vorpommern and Bad Kissingen.
"A discovery and a brilliant pianist", is how his senior colleague Boris Berezovsky describes Dmitry Masleev, who will be performing a solo recital at the greatly acclaimed Pianoscope Festival in France, directed by Mr. Berezovsky. The two pianists will give a pair of duo recitals in Moscow later in the season, playing the music of Bartok and Liszt.
Born and raised in Ulan-Ude (a Siberian town between Lake Baikal and the Mongolian border), Dmitry Masleev was educated at the Moscow Conservatory in the class of Professor Mikhail Petukhov, and at the International Music Academy at Lake Como. Prior to his triumph at the Tchaikovsky International Piano Competition in Moscow, where the jury awarded him First Prize as well as a special award for the performance of the Mozart D minor Concerto, Mr. Masleev has won many competitions including the 7th Adilia Alieva Piano Competition in Gaillard (2010), the 21st Premio Chopin Piano Competition in Rome (2011), and the Antonio Napolitano Competition in Salerno (2013).
Dmitry Masleev – All the posts
The winners of the XV International Tchaikovsky Competition, 2015