2010 Gilmore Artist Kirill Gerstein Makes Boston Symphony Debut with Tchaikovsky’s First Piano Concerto under Dutoit at Tanglewood (July 30)

By -

Gerstein Rejoins Dutoit with Philadelphia Orchestra (Aug 6); Gives Recital at Tannery Pond (July 31);
Plays Chamber Music at Saratoga (Aug 9); Performs with Royal Philharmonic in Shanghai (Aug 18);
and Concludes Summer at Jerusalem International Chamber Music Festival (Aug 31 – Sep 4)

Kirill Gerstein has had a momentous season. In January, he became the sixth recipient of the coveted Gilmore Artist Award, worth $300,000 and described by the New York Times as “music’s answer to the MacArthur Foundation ‘genius’ grants.” Only two months later, he followed this coup with a second major triumph when he was named the winner of a prestigious Avery Fisher Career Grant. Not surprisingly, this Russian-born pianist is much in demand this summer. He makes his Boston Symphony debut at Tanglewood on July 30, performing Tchaikovsky’s First Piano Concerto under the direction of Charles Dutoit. The following night, as part of the Tannery Pond Concerts’ landmark 20th-anniversary season, he gives a recital of Bach, Schumann, and Chopin in New Lebanon, NY. The Tannery Pond program also features Oliver Knussen’s “emotionally charged” (New York Times) new work, Ophelia’s Last Dance, which was commissioned for Gerstein as the 2010 Gilmore Artist.

Reuniting with Dutoit on August 6, Gerstein undertakes Liszt’s Second Piano Concerto with the Philadelphia Orchestra in Saratoga, NY. On August 9, he will collaborate with Jean-Yves Thibaudet, Chantal Juillet, and members of the Philadelphia orchestra in performance at the Saratoga Chamber Music Festival. Three more chamber music programs, which include two Brahms sonatas, follow at the Jerusalem International Music Festival, on August 31, September 1, and September 4.

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 ...
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

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more