Sergey Khachatryan performs Shostakovich Violin Concerto No 1 in Philadelphia

By -

Kurt Masur leads a program of sun-dappled days and shadowy nights. The concert opens with the sweet and cheerful sounds of Brahms's Second Symphony, composed during a summer holiday in 1877. Next violinist Sergey Khachatryan makes his Philadelphia Orchestra subscription debut with Shostakovich's First Violin Concerto--filled with music that is questioning and uncertain, before culminating in energetic resolution. Richard Strauss's wry and spritely tone poem about spirited hijinks and practical jokes rounds off this delicious evening.

Shostakovich Violin Concerto No. 1 in A minor, Opus 77, was originally written in 1948. One critic described Sergry's performance of Shostakovich's First Violin Concerto as "one of the most mature and complete interpretations of this piece it is possible to imagine".

Sergey Khachatryan, born in 1985 in Yerevan, Armenia, picked up the violin aged five, although "I never counted myself as a child prodigy," says violinist Sergey Khachatryan. In December 2000 he won First Prize in the VIII International Jean Sibelius competition in Helsinki, becoming the youngest ever winner in the history of the competition. In 2005 he claimed the First Prize at the Queen Elizabeth Competition in Brussels. He was elected as March's Artist of the Month 2009 by the Mariinsky Thaetre St. Petersburg and their Artistic and General Director Valery Gergiev.

Friday April 17, 2009
8:00 PM
Verizon HallThe Philadelphia Orchestra

Kurt Masur - Conductor
Sergey Khachatryan - Violin

Program:
Brahms - Symphony No. 2
Shostakovich - Violin Concerto No. 1
Strauss - Till Eulenspiegel's Merry Pranks

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In &quo
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

The Art of String Quartets by Brian Ferneyhough

By -
Image
When an artist sets paint to canvas, there are brush strokes used for different effects. Sometimes those strokes are subtle, imperceptible; they produce works of art like the Mona Lisa . Other times the very obvious nature of the stroke is the art, as in works by Van Gogh. With some composers of music, the notes on the page are their craft. How those notes translate into an aural experience is what defines some composers as great artists. Brian Ferneyhough has a masterful command of the techniques of putting notes on the page. These techniques are sometimes so subtle, even though written in black and white, they escape detection. Some of what he attempts with his music is just that, to escape detection, to bury the framework, diverting the ear away from the structure, so only the music is heard . The subtlety is so fine it is almost imperceptible. Even though he studied at several institutions, he is considered self-taught, studying scores from Boule
Read more