Jakub Józef Orliński

Jakub Józef Orliński
Jakub Józef Orliński, countertenor. Photo by M. Sharkey

Saturday, November 19, 2016

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

Winner of the prestigious Rubinstein and Gilmore Artist awards, internationally acclaimed pianist Kirill Gerstein performs a rarely heard early edition of Tchaikovsky's beloved first Piano Concerto, joined by renowned conductor Jun Märkl.

Υπό τη διεύθυνση του διακεκριμένου Γερμανού μαέστρου Jun Märkl, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει το Κοντσέρτο για πιάνο αρ. 1 σε Σι ύφεση ελάσσονα, έργο 23, του Πιότρ Ιλίτς Τσαϊκόφσκι, και το Κοντσέρτο για ορχήστρα του Μπέλα Μπάρτοκ. Το Πρώτο Κοντσέρτο για πιάνο του Τσαϊκόφσκι, στην εκδοχή του 1879, ερμηνεύει ο βραβευμένος εβραϊκής καταγωγής Ρώσος πιανίστας (Αμερικανός πολίτης από το 2003) Kirill Gerstein.

Η συναυλία, διάρκειας δύο ωρών, θα λάβει χώρα στην αίθουσα συναυλιών Orchestra Hall στο Max M. Fisher Music Center στο Ντιτρόιτ των Ηνωμένων Πολιτειών, την Κυριακή 20 Νοεμβρίου 2016, στις 3:00 πμ (ώρα Ντιτρόιτ: 19 Νοεμβρίου, 8:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.

Pyotr Ilyich Tchaikovsky (1840-1893)

♪ Piano Concerto No.1 in B flat minor, Op.23 (1879 version)

i. Allegro non troppo e molto maestoso – Allegro con spirito
ii. Andantino semplice – Allegro vivace assai
iii. Allegro con fuoco

Kirill Gerstein, piano


Béla Bartók (1881-1945)

♪ Concerto for Orchestra, Sz. 116, BB 123 (1943)

i. Introduzione: Andante non troppo
ii. Presentando le coppie: Allegro scherzando
iii. Elegia: Andante non troppo
iv. Intermezzo Interrotto: Allegretto
v. Finale: Pesante – Presto

Detroit Symphony Orchestra
Conductor: Jun Märkl

Live from Orchestra Hall, Max M. Fisher Music Center, Detroit

Sunday, November 20, 2016, 3:00 AM (EET, UTC+02:00)
(Detroit: Saturday, November 19, 8:00 PM)

Live on Livestream

Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor, Op.23 (1879 version)

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.

Tchaikovsky's First Piano Concerto was an instant hit, receiving tremendous applause and acclaim following its Boston premiere. The renowned pianist and conductor Hans von Bülow was the soloist, and he telegraphed the composer personally to share the good news. It is not difficult to understand why this piece met with immediate public acceptance and remains so popular today. It is chock-full of tuneful melodies (even for the master tunesmith Tchaikovsky), the voice of the piano is bold and fluid, and the work is cast in large contours, creating a sweeping, majestic effect.

Kirill Gerstein will play the "1879 version" of the First Piano Concerto. This version is the one that Tchaikovsky himself conducted during his only visit to the United States, for the opening of Carnegie Hall in 1891. The so-called "third version" of the concerto – the one most commonly performed today – is quite unlike the 1879 version, as it was edited and published posthumously, likely without any input or authorization from Tchaikovsky while he was alive.

Gerstein wrote about the differences between these two versions in his 2015 New York Review of Books article "The Real Tchaikovsky": "Comparing the 1879 version with the posthumous one, I find the editorial changes in the third version add a superficial brilliance to the piece, while at the same time detracting from its genuine musical character. Many examples of differing dynamics, articulations, and tempo indications in Tchaikovsky's [1879] version point to a more lyrical, almost Schumannesque conception of the concerto. The arpeggiated chords and softer dynamics in the opening do not threaten to overpower the theme in the strings and allow the melody more metric flexibility and differentiation. Restoring the measures traditionally cut in the middle section of the finale enables us to hear harmonically and contrapuntally adventurous combination of several motivic strands. The extended middle section allows for an introduction and deeper immersion in a new mood. In the posthumous version, this section of the finale is so short that the new mood introduced always seemed a jarring miscalculation. It would now appear that this miscalculation was not the author's, but this editor's".

The DSO most recently performed Tchaikovsky's First Piano Concerto in February 2015 during the 2015 Tchaikovsky Festival, with Leonard Slatkin conducting and Olga Kern on the piano. The DSO first performed the work at a similarly all-Tchaikovsky concert in January 1916, with Weston Gales conducting and Kathryn Goodson on the piano.

Πιότρ Ιλίτς Τσαϊκόφσκι: Κοντσέρτο για πιάνο αρ. 1 σε Σι ύφεση ελάσσονα, έργο 23 (1879)

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

Béla Bartók: Concerto for Orchestra, Sz. 116, BB 123 (1943)

Scored for 3 flutes (one doubling on piccolo), 3 oboes (one doubling on English horn), 3 clarinets (one doubling on bass clarinet), 3 bassoons (one doubling on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings.

By 1943, four years had passed since Béla Bartók fled his warthreatened Hungary for the United States. Those four years were not kind to him: he knew little English, he was falling into poverty for lack of longterm employment, and he was in the beginning stages of leukemia (which would ultimately claim his life two years later). Friends heard of Bartók's plight and began to commission works that became some of his final masterpieces. Serge Koussevitzky visited Bartók in a New York hospital with a $1,000 commission for a new orchestral piece, which would become the Concerto for Orchestra.

Bartók composed the work between August 15 and October 8, 1943, at a sanitarium in upstate New York while recuperating from the initial phases of his illness. Koussevitzky conducted the premiere with the Boston Symphony December 1, 1944, and the acclaim it received suddenly brought the ailing composer fame at the very end of his life.

Though the Concerto for Orchestra has certain traits that recall symphonic forms, the idea of a work featuring many different orchestral soloists has its origins in certain baroque ensemble concertos dating back to the early 18th century. And while this orchestral concerto is harmonically far more transparent than Bartók's music of the 1920s and early 1930s, it is imbued with thematic and rhythmic traits he developed over his lifetime. A short, mysterious introduction is followed by three main themes in the opening movement – an urgent, thrusting theme in the strings, an almost static theme in the woodwinds, and a commanding theme that rises fugally through various sections of the brass choir. All three are explored during a brisk development, and the first and third themes are restated before the movement ends abruptly.

The celebrated "Game of the Pairs" comes next, successively featuring pairs of instruments in the woodwind and brass sections in lighthearted duets. The third movement is one of Bartók's many mysterious "night music" pieces, recalling thematic motives from the introduction  to the first movement in an eerie, exotic orchestral setting. The fourth movement opens with a quaint modal melody in the oboe, but the music gradually dissolves into a trio section, full of raucously trilling trumpets and slithering trombone glissandos. The lengthy finale picks up the energy of the opening movement, gathering it into a grand, brilliant climax.

Source: Carl Cunningham, 1999

The DSO most recently performed Bartók's Concerto for Orchestra in November 2013, conducted by Rafael Frühbeck de Burgos. The DSO first performed the work in December 1953, with Antal Doráti conducting.

Μπέλα Μπάρτοκ: Κοντσέρτο για ορχήστρα, Sz. 116, BB 123 (1943)

Απαιτητικό όσο και γοητευτικό το Κοντσέρτο για ορχήστρα του Μπέλα Μπάρτοκ, γράφτηκε στο Σάρανακ Λέικ, χωριό βόρεια της Νέας Υόρκης. Η πρεμιέρα του έργου δόθηκε το 1944, με τη Συμφωνική της Βοστόνης υπό τη διεύθυνση του Σεργκέι Κουσεβίτσκι ο οποίος το χαρακτήρισε ως «το καλύτερο ορχηστρικό έργο των τελευταίων 25 ετών».

Το Κοντσέρτο για ορχήστρα του Μπέλα Μπάρτοκ είναι έργο αντιπροσωπευτικό της καινοτόμου ματιάς του συνθέτη, εύληπτο, ευφάνταστο και προϋποθέτει εξαιρετικές ικανότητες από τους μουσικούς των διαφόρων ομάδων οργάνων της ορχήστρας.

Photo by Marco Borggreve
The multifaceted pianist Kirill Gerstein has rapidly ascended into classical music's highest ranks. With a masterful technique, discerning intelligence, and a musical curiosity that has led him to explore repertoire spanning centuries and styles, he has proven to be one of today's most intriguing and versatile musicians. His early training and experience in jazz has contributed an important element to his interpretive style, inspiring an energetic and expressive musical personality that distinguishes his playing.

Mr. Gerstein is the sixth recipient of the prestigious Gilmore Artist Award, presented every four years to an exceptional pianist who, regardless of age or nationality, possesses broad and profound musicianship and charisma and who desires and can sustain a career as a major international concert artist. Since receiving the award in 2010, Mr. Gerstein has shared his prize through the commissioning of boundary-crossing works by Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen, and Brad Mehldau, with additional commissions scheduled for future seasons. Mr. Gerstein was awarded First Prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv, received a 2002 Gilmore Young Artist Award, and a 2010 Avery Fisher Grant.

A significant highlight of Mr. Gerstein's 2016-2017 season is the New York premiere of a new Urtext edition of Tchaikovsky's Piano Concerto No.1 in the composer's own 1879 version of the score with the New York Philharmonic led by Semyon Bychkov. He will also perform this version of the concerto with the Atlanta Symphony, Detroit Symphony, Grant Park Orchestra (in its U.S. premiere), and Naples Philharmonic. Mr. Gerstein's ECHO Klassik Award-winning world premiere recording of this version of the work, paired with Prokofiev's Piano Concerto No.2, with the Deutsches Symphonie-Orchester Berlin led by James Gaffigan was released by Myrios Classics in 2015 and marked Mr. Gerstein's first orchestral recording. Internationally, this version of the score with the BBC Scottish Symphony Orchestra at the BBC Proms in London, as well as with the St Petersburg Philharmonic and the Gewandhaus Orchestra.

Additionally this season, Mr. Gerstein performs Busoni's epic Piano Concerto with the Boston Symphony Orchestra led by Sakari Oramo (and returns in the 2018-2019 season to play the world premiere of a BSO-commissioned piano concerto by the orchestra's first-ever artistic partner, Thomas Adès), Gershwin's Rhapsody in Blue in the original jazz band version and Schoenberg's Piano Concerto with the Cleveland Orchestra led by James Gaffigan, and both Gershwin's Piano Concerto in F and Rhapsody in Blue with the St Louis Symphony conducted by David Robertson to be recorded for future release. He also returns to the New Jersey, San Diego, and Vancouver Symphonies, performs recitals in Washington DC at the Kennedy Center, Chicago presented by the Chicago Symphony Orchestra, and Seattle, and joins the Hagen Quartet for chamber music concerts at Zankel Hall in New York and at Duke University. In Europe, Mr. Gerstein performs Tchaikovsky's Piano Concertos Nos. 2 and 3 as part of Semyon Bychkov's Tchaikovsky festival with the BBC Symphony Orchestra, and plays with the Brno Philharmonic, Deutches-Symphonie-Orchester Berlin, Göttinger Symphonie Orchester, Hamburger Symphoniker, Helsinki Philharmonic, and Luzerner Sinfonieorchester.

Recent engagements have included performances with the Los Angeles and New York Philharmonics, the Philadelphia and Minnesota Orchestras, and the Atlanta, Baltimore, Boston, Chicago, Cincinnati, Dallas, Detroit, Houston Indianapolis, Montreal, St Louis, San Francisco and Toronto symphonies, among others. He has appeared at Tanglewood with the Boston Symphony, and at the Aspen Music Festival, Santa Fe Chamber Music Festival, Chicago's Grant Park, Blossom with the Cleveland Orchestra, and with the Philadelphia Orchestra at the Bravo! Vail Valley Festival, Mann Music Center and Saratoga. Internationally, he has played with such prominent European orchestras as the Berlin, Czech, Munich, Rotterdam and London Philharmonics, the City of Birmingham Symphony Orchestra, Dresden Staatskappelle, Finnish Radio Orchestra, Royal Concertgebouw, Tonkünstler Orchestra Vienna, WDR Symphony Orchestra Cologne and the Zurich Tonhalle, as well as with the NHK Symphony Orchestra in Tokyo. He has performed recitals in Paris, Prague, Hamburg, London's Wigmore Hall and Queen Elizabeth Hall, and at the Liszt Academy in Budapest. He made his Salzburg Festival debut playing solo and two piano works with Andras Schiff and has also appeared at the Lucerne and Jerusalem Chamber Music Festivals as well as at the Proms in London.

Mr. Gerstein performs Liszt's Transcendental Etudes on a new recording to be released by Myrios Classics in the U.S. in September 2016. His other solo recordings for the label include Imaginary Pictures comprising Mussorgsky's Pictures at an Exhibition and Schumann's Carnaval released in June 2014, and a recording of works by Schumann, Liszt and Oliver Knussen, released in 2010. Both albums were chosen by The New York Times as a best recording of the year. He also collaborated with Tabea Zimmerman on two recordings of sonatas for viola and piano for Myrios, released in February 2011 and November 2012.

Born in 1979 in Voronezh, in southwestern Russia, Mr. Gerstein studied piano at a special music school for gifted children and while studying classical music, taught himself to play jazz by listening to his parents' extensive record collection. After coming to the attention of vibraphonist Gary Burton, who was performing at a music festival in the Soviet Union, Mr. Gerstein came to the United States at 14 to study jazz piano as the youngest student ever to attend Boston's Berklee College of Music. After completing his studies in three years and following his second summer at the Boston University program at Tanglewood, Mr. Gerstein turned his focus back to classical music and moved to New York City to attend the Manhattan School of Music, where he studied with Solomon Mikowsky and earned both Bachelors and Masters of Music degrees by the age of 20. He continued his studies in Madrid with Dmitri Bashkirov and in Budapest with Ferenc Rados. An American citizen since 2003, Mr. Gerstein now divides his time between the United States and Germany.

Source: kirillgerstein.com

Jun Märkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic explorations of the French impressionists. His long-standing relationships at the state operas of Vienna, Berlin, Munich and Semperoper Dresden have in recent years been complemented by his Music Directorships of the Orchestre National de Lyon (2005-2011) and MDR Symphony Orchestra Leipzig (to 2012). For the 14/15 and 15/16 seasons he is Principal Conductor to the Basque National Orchestra and Principal Conductor of Pacific Music Festival (Japan) for 2015. He guests with the world's leading orchestras, including the Cleveland Orchestra, Philadelphia Orchestra, NHK Symphony Orchestra, Czech Philharmonic, Munich Philharmonic, Oslo Philharmonic, Tonhalle Orchester Zürich.

In 2012 he was honoured by the French Ministry of Culture with the Chevalier de l'Ordre des Arts et des Lettres in recognition of his achievements in Lyon, notably his hugely successful nine-disc Debussy cycle with the orchestra on Naxos. He also toured with the orchestra to Japan and major European halls and festivals such as the Salle Pleyel, Amsterdam Concertgebouw, BBC Proms, Bad Kissingen, Rheingau and Luzern. With MDR he toured to Spain and the Baltics, made regular appearances in the Berlin Konzerthaus and Cologne Philharmonie, and conducted Schumann's rarely-heard opera Genoveva at the Rotterdam Opera Festival.

In 2014/2015 Märkl returns to the Orchestre National de Lyon and also to the Netherlands Radio Philharmonic, Oslo Philharmonic, Helsinki Philharmonic, Tonkuenstler Vienna and Hamburgische Staatsorchester, all of whom invite him frequently. He is also often invited to several leading North American orchestras, notably Atlanta, Baltimore, Cincinatti, Dallas, Indianapolis and St Louis.

In addition, he has conducted many times at NHK Symphony Tokyo, Pacific Music Festival Sapporo and with the Mito Chamber Orchestra, and recently accepted the position of Invited Professor at the Kunitachi School of Music in Tokyo. In January 2015 he conducted the Yomiuri Nippon Symphony Orchestra for the first time.

Märkl has been a regular guest at the State Operas of Vienna, Munich and Semper Oper Dresden, and was until 2006 Permanent Conductor of the Bavarian State Opera in Munich. He made his Royal Opera House debut withGötterdämmerung in 1996 and at the Metropolitan Opera with Il Trovatore in 1998, has conducted complete Ring Cycles at the Deutsche Oper and at the New National Theatre in Tokyo, and toured to Japan in 2007 with the Semper Oper Dresden (Tannhäuser). Opera projects 2014-2015 include Fidelio in Hamburg and in Cincinatti, Rosenkavalier in Budapest, and Idomeneo in Tokyo.

In 2014 Naxos released two Hosokawa discs recorded by Jun Märkl with Royal Scottish National Orchestra. Whilst in Lyon he made live recordings for Altus of Strauss, Beethoven and Mahler to complement his Naxos discs of Debussy, Ravel, and Messiaen. With MDR Symphony he recorded Brahms symphonies and Schoenberg on Altus, and Mendelssohn and d'Albert for Naxos. He has also recorded the complete Schumann symphonies live with the NHK Symphony on Exton label, Dvořák on Telarc with the Indianapolis Symphony.

Born in Munich, his (German) father was a distinguished Concertmaster and his (Japanese) mother a solo pianist. Märkl studied violin, piano and conducting at the Musikhochschule in Hannover, going on to study with Sergiu Celibidache in Munich and with Gustav Meier in Michigan. In 1986 he won the conducting competition of the Deutsche Musikrat and a year later won a scholarship from the Boston Symphony Orchestra to study at Tanglewood with Leonard Bernstein and Seiji Ozawa. Soon afterwards he had a string of appointments in European opera houses followed by his first music directorships at the Staatstheater in Saarbrücken (1991-1994) and at the Mannheim Nationaltheater (1994-2000).

Source: junmarkl.com

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