DOCSLIB.ORG

Sasha Rozhdestvensky

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sasha Rozhdestvensky 2011-2012 Sasha Rozhdestvensky Sasha Rozhdestvensky, Violon Biography Sasha Rozhdestvensky is considered to be one of Russia’s finest young violinists. Yehudi Menuhin pronounced him to be “one of the most talented and refined violinists of his generation”, while the legendary violinist Ivry Gitlis said of him: “He belongs to the great line of outstanding artists. His approach and relationship to music and the violin is intense, highly sensitive and intelligent”. He has appeared internationally with leading orchestras such as the Bavarian State Orchestra, Bamberger Symphoniker, Boston Symphony Orchestra, Chamber Orchestra of Europe, Detroit Symphony Orchestra, Deutsches Symphonie Orchester, l'Orchestre Philharmonique de Radio-France, Ensemble Orchestral de Paris, Israel Philharmonic Orchestra, London Symphony Orchestra,, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Orchestra of “La Scala”, Mariinsky Orchestra, Philharmonia Orchestra, State Symphony Capella of Russia, Prague Symphony Orchestra, National Symphony Orchestra of Ireland, Royal Philharmonic Orchestra, Orchester der Beethovenhalle Bonn, Orquestra Gulbenkian, Tonhalle Orchestra Zurich, Toronto Symphony Orchestra, Yomiuri Nippon Symphony Orchestra, Dresdner Philharmonie Orchestra, Sydney Symphony Orchestra, Melbourne Symphony Orchestra, West Australia Symphony Orchestra, the Sao Paulo Symphony Orchestra. Among the conductors with whom Sasha Rozhdestvensky has worked are Antonio de Almeida, Alexander Anissimov, Vladimir Ashkenazy, Yuri Bashmet, Joanna Carneiro, Simon Gaudenz, Valery Gergiev, Vernon Handley, Wolf-Dieter Hauschild, Jansug Kakhidze, Gabriel Khmura, Lois Langree, Jacques Mercier, Anton Nanut, Avi Ostrowsky, Valery Polyansky, George Pehlivanyan, Vladimir Ponkin, Gennady Rozhdestvensky, Gerard Schwartz, Lothar Seifarth, Martin Sieghart, Yuri Simonov, Vladimir Spivakov, Stanley Sperber, Vladimir Valek, Vladimir Verbitsky, Christopher Warren-Green. Sasha Rozhdestvensky has recorded numerous works for the THESIS and CHANDOS labels including the Concerto Grosso No. 6 by Alfred Schnittke with the Royal Stockholm Philharmonic. In 1994 he premiered this concerto, which was written especially for him and Viktoria Postnikova. He recently recorded the Violin Concerto No. 1 by Dimitri Shostakovich and the Violin Concerto by Alexander Glazunov with Gennady Rozhdestvensky and the State Symphony Capella of Russia. He has appeared at major festivals including BBC Proms (London), Tanglewood, Schleswig-Holstein, Flanders, Gstaad, Istanbul, Colmar, Ravinia, Florida, Taormina, Sienna, Lockenhaus, Montreux, Rheingau, Mozart (La Coruna), Martinu (Basel), and has performed in all of the world’s major halls, including the Carnegie Hall, Royal Albert Hall, Barbican and Festival Hall London, Concertgebouw Amsterdam, Berlin Philharmonie, Suntory Hall Tokyo, Salle Pleyel, Salle Gaveau and Theatre du Chatelet Paris, Mann Auditorium Tel-Aviv, La Scala Milan, always to great acclaim. His chamber music partners have included Marc Coppey, Gary Hoffman, Steven Isserlis, Christian Ivaldi, Kun Woo Paik, Michel Portal, Viktoria Postnikova, Michael Rudy, Andrei Vieru. Sasha Rozhdestvensky’s dedication to contemporary music is highlighted through close contacts with several eminent composers, such as Alfred Schnittke, Sofia Gubaidulina and Giya Kancheli. He also devotes his time to the performance of traditional Latin American music together with the instrumental group “Ambar” and “Paris Gotan Trio”, who recently released a CD “Champan Rosado”. Sasha studied at the Central Music School in Moscow, the Moscow Conservatory, the Paris Conservatoire and the Royal College of Music in London with Dr. Felix Andrievsky, Zinaida Gilels, Maya Glezarova and Gerard Poulet. He plays several violins, among which are a Guarneri del Gesu and a Stradivari loaned to him by the Stradivari Society. He recently became an ambassador for the Stradivari Society. www.sashar.net Sasha Rozhdestvensky, Violon Press « One of the most talented and refined violinists of his generation « Yehudi Menuhin « He belongs to the great line of outstanding artists. His approach and relationship to Music and the Violin is intense, highly sensitive and intelligent. » Ivry Gitlis « A brilliant young Russian violinist ». The Financial Times « An electrifying performance, not just beautiful, but bursting with the kind of brio that makes you sit up and listen. » Gramophone « Une éloquence, un lyrisme, une plénitude, une évidence sensible qui nous comblent. » Répertoire « Sasha Rozhdestvensky is a commanding technical, and it’s doubtful that the Tchaikovski Violin Concerto has been better played since Heifetz. Indeed there was a lot of Heifetz in this young man’s performance-the Dionysian and Apolonian aspects were in perfect excitement and throbbing emotions were all in the fingers, arms and the instrument itself. » New York Daily News « …A memorable performance of Prokofiev’s second Violin Concerto. Making his Proms debut, Sasha Rozhdestvensky displayed the warm lyricism necessary for this concerto… He caught all the contrasts in the first movement’s parade of bittersweet themes, supported by a gentle accompaniment. The ravishingly beautiful slow movement had expressive freedom, before it was back to mid-1930s Soviet reality in the sardonic, stabbing dance rhythms of the finale. » The Times « First heard at the Proms in 1954, Prokofiev’s Second Violin Concerto can surely have had no better advocate than Sasha Rozhdestvensky at this venue… his clear tone immediately mesmerising.. intoxicatingly beautiful… creating a captivating sound world. … one of the most enjoyable Proms this season. » The Strad « There was plenty to admire about his performance. He astutely varied his tone between radiant sweetness and raw astringency, his passagework was clearly articulated and his pianissimo playing was exquisite. Rozhdestvensky highlighted the concerto`s lyricism, offering an impassioned Reading of the Passacaglia and displaying bravura technique and a strong sense of line in the challenging cadenza. » The Australian « Sasha Rozhdestvensky played the demanding Violin Concerto No.1 in A by Shostakovich with implacable technical command, unwavering focus and a sound of rich strength and warmth. » Sydney Morning Herald Sasha Rozhdestvensky, Violon Contacts OZ Artists Management Oscar Zepeda Arias 9 bis Villa St Mandé – 75012 Paris T : (+33) 1 43 40 27 07 M : (+33) 6 14 26 25 28 [email protected] .
Load more

Recommended publications
  • Program Broşürü Için
    EF- SA- NE BiLKENT’ TE THE LEGEND AT BILKENT AVI OSTROWSKY ŞEF CONDUCTOR IVO POGORELICH PİYANO PIANO KONZERTMEISTER IRINA NIKOTINA 18 Şubat February 2017 Cumartesi Saturday, 20.00 Bilkent Konser Salonu | Concert Hall Değerli Dinleyicilerimiz, Gittikçe artan sayılarla yeni dinleyicilerimizin aramıza katılmasından mutluluk ve gurur duyuyoruz. İzleyicilerimizin beğenilerini içten alkışlarıyla sergilemeleri, bizler için paha biçilmez bir destek. Konserlerimizde ses ve görüntü kaydı yapılmaktadır. Seslendirilen eserlerin bazıları birkaç bölümden oluşmaktadır. Eserin tümü bittikten sonra alkışlamanız bizlere kolaylık sağlayacaktır. Aynı nedenle konser esnasında cep telefonlarınızı tamamen kapatmanızı ve flaşla fotoğraf çekmemenizi rica ederiz. Dear Listeners, We are happy and proud to perform to a growing audience. The applause we receive from the audience is an invaluable expression of appreciation. All our concerts are audio-visually recorded. Some of the works performed by the artists are composed of several parts. It would be highly convenient if the listeners hold their applause until the end of the work. For the same reason, we kindly ask our listeners to turn off their cell phones and not to take any photographs with flash during the concert. Program R. Schumann Piyano Konçertosu, La minör, Op.54 Concerto for Piano in A minor, Op.54 I. Allegro affetuoso II. Intermezzo: Andante gracioso III. Allegro vivace ara interval J. Brahms Senfoni No.4, Mi minör, Op.98 Symphony No.4 in E minor, Op.98 I. Allegro non troppo II. Andante molto III. Allegro giocoso IV. Allegro energico e passionato (Tema con Variacioni) Zorunlu durumlarda program değişikliği yapılabilir. Programs may be subject to changes due to reasons beyond our control.
    [Show full text]
  • Orchestrating Creativity
    Faculty of Arts Department of Philosophy Orchestrating Creativity The Musical Canon as a Regulative Concept Thesis submitted for the degree of Doctor of Philosophy at the University of Antwerp to be defended by Arne HERMAN Supervisors: Antwerp, 2020 Prof. Dr. Pascal Gielen Prof. Dr. Marlies De MuncK Acknowledgments Every researcher must acknowledge the fact that the merits of his intellectual labor are not entirely his. This dissertation is the result of a research trajectory in which every intermediate step has been carefully scrutinized, validated or criticized by others. First of all, I wish to express my profound gratitude to my supervisors prof. dr. Pascal Gielen and prof. dr. Marlies De Munck. Through their empirical and theoretical complementarity, they have provided the dialectical space within which my cognitive creativity could thrive, and I am not too proud to admit that they should be credited for some of my finest ideas. Many thanks to the representatives of cultural organizations whom I had the privilege to meet, in particular my conversation partners with Antwerp Symphony Orchestra, Casco Phil, deSingel, BOZAR, the Belgian National Orchestra, the Royal Concertgebouworkest, Splendor, London Symphony Orchestra and Aurora Orchestra. Not only have they supplied invaluable information for this research, they have also convinced me that we are not fighting for a lost cause. Also, a word of gratitude to my colleagues of the Culture Commons Quest Office (Walter, Louis, Thijs, Hanka, Giuliana, Lara and Maria Francesca), and to those teachers and mentors (in particular Pieter Bergé, Edmond Saveniers, Luc Joosten and Eddy Vanoosthuyse) who have, often without their knowledge, always been an inspiration to me.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present Hector Berlioz (1803-1869)
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography of CDs and LPs Prepared by Michael Herman Hector Berlioz (1803-1869) Born in La Côte-Saint-André, Isère. As a child, he learned to play several instruments from his father, a doctor who was an amateur musician. He had private musical lessons from Jean François Le Sueur before entering the Paris Conservatory where Le Sueur and Anton Reicha were his composition and counterpoint teachers. He went on to become one of France's greatest composers whose music pushed composition in revolutionary directions. In addition to the symphonies, his large-scale masterpieces were the opera "Les Troyens" and the choral works "La Damnation de Faust," "L'Enfance du Christ" and the requiem "Grand Messe des Morts." With the exception of his various overtures, there are very few other orchestral works by Berlioz. Symphonie Fantastique, Op. 14 (1830, rev. 1831) Claudio Abbado/Chicago Symphony Orchestra (+ Roman Carnival Overture) DEUTSCHE GRAMMOPHON 474165-2 (2003) (original LP release: DEUTSCHE GRAMMOPHON 410 895-1 GH) (1984) Claudio Abbado/Berlin Philharmonic Orchestra (+ Mendelssohn: Midsummer Night's Dream - Incidental Music) BERLINER PHILHARMONIKR BPHR160081 (2 CDs) (2016) Ernest Ansermet/Orchestre de la Suisse-Romande ( + Corsair Overture) DECCA SXL 6343 (LP) (1968) Ernest Ansermet/Orchestre de la Suisse-Romande (rec. 1968) ( + Liszt: Battle of the Huns and Wagner: Faust Overture) CASCAVELLE VEL 3143 (2010) Ataulfo Argenta/Orchestre de la Société du Conservatoire Paris Orchestre
    [Show full text]
  • Joana Carneiro
    07 - 29 Julho 07 - 29 Direção Artística PAULO PATRICK RIBEIRO DICKIE Companhia Nacional Teatro Nacional de Bailado de São Carlos FESTIVAL AO LARGO 2017 Ao Largo é o pulsar maior da Companhia. A edição deste ano do Festival homenageia dois São dias de celebração de todas as primaveras. grandes gigantes da Música do século XIX: Ao Largo e em Largo respiramos todos os sons Richard Wagner e Giuseppe Verdi, curiosamente e todos os gestos. ambos nascidos em 1813. De forma coletiva festeja-se a dança no seu expoente máximo com obras inspiradas dançadas O Largo de São Carlos é um local íntimo e cenário por intérpretes incontornáveis. perfeito para, uma vez mais, a música abandonar Em frente à casa onde nasceu Fernando Pessoa a sala principal do Teatro e fazer-se ouvir em homenageia-se o corpo e toda a sua dimensão plena rua. Há musica para todos os gostos – o poética!!! programa deste ano combina jazz, musicais da Broadway com Maurice Ravel, Leonard Bernstein A CNB entrega-se à maior homenagem que pode ou Frank Zappa. As honras de abertura deste ser feita à cidade que a acolhe. festival caberão à Orquestra Sinfónica Portuguesa dirigida por Joana Carneiro, a sua Maestrina No espaço de maior movimentação poética da Titular, e o Coro do Teatro ocupa o seu habitual cidade de Lisboa, os intérpretes da Companhia lugar de uma das estrelas principais, cantando Nacional de Bailado dão corpo à subjetividade um programa totalmente preenchido por obras maior da palavra e dançam, dançam, dançam…!!! de cada período importante da carreira de Giuseppe Verdi.
    [Show full text]