Concert Johannes Brahms. Soloists: Pinchas Zukerman (violin), Amanda Forsyth (cello). Conductor: Valery Gergiev World famous Mariinsky Ballet and Opera Theatre - Opera and Concert Hall
Schedule for Johannes Brahms. Soloists: Pinchas Zukerman (violin), Amanda Forsyth (cello). Conductor: Valery Gergiev 2022
Composer: Johannes Brahms Cello: Amanda Forsyth Violin soloist: Pinchas Zukerman
Orchestra: Mariinsky Theatre Symphony Orchestra
Brahms
Soloists: Pinchas Zukerman (violin),
Amanda Forsyth (cello) Mariinsky Theatre Symphony Orchestra
Conductor: Valery Gergiev
The programme includes:
Johannes Brahms Symphony No 3 in F Major,
Op. 90
Johannes Brahms Violin and Cello Concerto in A Minor,
Op. 102
When analysed coolly, Brahms’ Third
Symphony (1883) would appear to comprise familiar elements from
works already written. These, however, engender a great many new and pliant
themes. In the first movement, as always with Brahms, there are no
less than five themes, although the rules dictate that there should be only
two. The very first theme, which is performed by the wind section and
immediately taken up by the trombone and the double basses, moves at
its own pace – three times slower than the other instruments. It
appears to be somehow eternal and immutable, some kind of fundamental element of
the musical material. The theme returns with Wagnerian triumph
in the coda of the finale. The second movement reminds
us of the scherzos from the preceding symphonies. Opening
the finale with a single-voiced theme was something that had already
been done in the Second Symphony. But such a slow movement as
the third – sincere, intimate and, at the same time,
courageous – had never been seen anywhere before the Third.
Brahms’ Double Concerto (1887) was written for
the violinist Joseph Joachim and the cellist Robert Hausmann. Looking
at the sheet music, it is hard to avoid the thought that both
the violin and cello solo parts are two hands for the piano –
the manner of execution is so similar. Arguably, the Hungarian theme
in the finale is a reminder that Joachim was born
in Hungary. In the second movement the violin and
the cello perform a songful theme together, albeit with minor
discrepancies as each of the soloists produces his or her own expressive
details. The music of the entire concerto is filled with beautiful
melodies. As with Bach, each of the voices picks up the melody –
there are more than the ear can catch listening to it just once, and so
this music could be listened to endlessly. The rhythm is just as complex
and a large portion of it seems to slip away frequently (unfortunately,
performing tradition over time has polarised this, a practice gradually
being abandoned today). No fewer than three themes of the first
movement are “constructed” from intonations of the main theme.
In the finale of the concerto they return once more.
The interdependence of all themes is a sign of the composition’s
perfection. In 1860 Brahms and Joachim wrote a manifesto against
programme music. This was the only time that the composer appeared
in print with a declaration in written words. Later he would
subject only his music to public judgement, and his final orchestral work –
the Double Concerto – is the best argument possible
in favour of pure music. Anna Bulycheva
Amanda Forsyth (cello). Daughter of composer Malcolm
Forsyth, Forsyth came to Canada from South Africa at two years of age and began
playing the cello at the age of three. She became a protege of William Pleeth in
London and later studied with Harvey Shapiro at the Juilliard School in New York
and with Lynn Harrell in Los Angeles. After two seasons with the Toronto
Symphony Orchestra she became the youngest principal ever selected by the
Calgary Philharmonic Orchestra where she remained for six years. In 1999,
Forsyth was appointed principal cello of the National Arts Centre Orchestra
where she is also featured as a soloist each season.
Forsyth is recognised as an eminent recitalist, soloist and chamber musician
appearing with leading orchestras and prestigious chamber music festivals
worldwide.
Forsyth and her husband, violinist Pinchas Zukerman, appear frequently
together as soloists. She has also collaborated with artists who include Lynn
Harrell, Yo-Yo Ma, Garrick Ohlsson, Jon Kimura Parker, Yefim Bronfman, Joseph
Kalichstein, Jaime Laredo, Arnold Steinhardt, Michael Tree, and Louis
Lortie.
Forsyth is the cellist of the Zukerman Chamber Players, which has toured
worldwide since 2003. She also recently collaborated with Wynton Marsalis in New
York, recording the sound track for Ken Burns’ 7-part television film about
World War II to be produced for PBS.
Amanda Forsyth performs on a 1699 cello by Carlo Giuseppe
Testore.
Pinchas Zukerman (born July 16, 1948) is a violinist, violist, and
conductor of Israeli descent.
Born in Tel Aviv to Yehuda and Miriam Lieberman Zukerman, Zukerman began his
musical studies at age 4, on the recorder. His father then taught him clarinet,
and picked up the violin at age 8. Isaac Stern and Pablo Casals learned of
Zukerman's violin talent during a 1962 visit to Israel. Zukerman subsequently
moved to the United States that year for study at the Juilliard School, under
the tutelage of Stern and Ivan Galamian. He made his New York dйbut in 1963. In
1967, he shared the Leventritt Prize with the Korean violinist Kyung-wha Chung.
His 1969 debut recordings of the concerti by Tchaikovsky (under the direction of
Antal Dorati, with the London Symphony Orchestra) and Mendelssohn (with Leonard
Bernstein and the New York Philharmonic) launched a successful recording career
that continues to the present day and boasts over 110 releases.
Zukerman launched his conducting career in 1970 with the English Chamber
Orchestra, and served as director of London's South Bank Festival from 1971 to
1974. In the USA, Zukerman was music director of the Saint Paul Chamber
Orchestra from 1980 to 1987. He later directed the summer festivals of the
Dallas Symphony Orchestra (1991–1995) and the Baltimore Symphony Orchestra
(1996–1999). In 1999, he became Music Director of Ottawa's National Arts Centre
Orchestra (NACO). In March 2012, the NACO announced the scheduled conclusion of
his music directorship in 2015. He has served as Principal Guest Conductor of
the Royal Philharmonic Orchestra since 2009.
Zukerman is on the faculty at the Manhattan School of Music and is the head
and founder of the Zukerman Performance Program at the school. His former
students have included Koh Gabriel Kameda, Julian Rachlin, and Guy Braunstein.
In 1999 he founded the National Arts Centre Young Artists Programme, which
counts young musicians such as Viviane Hagner, Jessica Linnebach, Antal Szalai,
and Caitlin Tully as alumni. In 2006 Zukerman began his involvement in the Rolex
Artistic Mentorship programme.
Zukerman plays the "Dushkin" Guarnerius del Gesщ violin of 1742. His honours
include the King Solomon Award, the National Medal of Arts (presented by
President Reagan in 1983), the Isaac Stern Award for Artistic Excellence, and an
honorary doctorate from Brown University. His recordings have received 21 Grammy
nominations, and 2 Grammy wins. He has collaborated with filmmaker Christopher
Nupen on several projects, and was the subject of Nupen's "Pinchas Zukerman:
Here to Make Music" documentary of 1974. In 2003 he founded a string quintet,
the Zukerman Chamber Players, which has released 3 CD recordings in addition to
its roster of live performances.
Zukerman has been married three times. His first marriage was to the flutist
and novelist Eugenia Zukerman, from 1968 to 1985. The marriage produced two
daughters, Arianna and Natalia, who are now both musicians. Arianna Zukerman is
a classical soprano, while Natalia Zukerman is a folk singer and guitarist.
Zukerman's second marriage was to actress Tuesday Weld from 1985 to 1998. Both
marriages ended in divorce. Zukerman and his third wife, Amanda Forsyth, the
NACO's principal cellist, live in the Rockcliffe Park area of Ottawa.
Schedule for Johannes Brahms. Soloists: Pinchas Zukerman (violin), Amanda Forsyth (cello). Conductor: Valery Gergiev 2022
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