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ARAM KHACHATURIAN 1903–1978 Violin Concerto in D minor 1 I Allegro con fermezza 13.58 2 II Andante sostenuto 12.15 3 III Allegro vivace 9.01 PYOTR ILYICH TCHAIKOVSKY 1840–1893 4 Souvenir d’un lieu cher, Op.42 : No.1 10.01 Méditation (orch. Glazunov) 45.29 ITZHAK PERLMAN violin Israel Philharmonic Orchestra/Zubin Mehta 2 Itzhak Perlman, Zubin Mehta and producer Suvi Raj Grubb Photo: © Gregory Rozanski 3 KHACHATURIAN: VIOLIN CONCERTO For a long time the sole preserve of Russian violinists, such as Mischa Elman, and, above all, Soviet musicians such as Leonid Kogan, Julian Sitkovetsky and Igor Oistrakh, Khachaturian’s Violin Concerto had only been recorded by a tiny number of Western artists (notably Ruggiero Ricci and Henryk Szeryng) before Perlman laid down this version. Dedicated to David Oistrakh, whose performances of it, both live and in the studio, remain legendary, the work was written during the summer of 1940, while the composer was staying in his home to the west of Moscow, a haven of peace amid the pine forests. “There, I worked with ease… the themes burst from me in such profusion that I struggled to organise them”, he was to write. The effortlessness, spontaneity, acerbity and flexibility of Khachaturian’s melodic inventiveness are particularly evident in the Andante sostenuto, written in a free, almost improvised style, which evokes the art of the ashoughs , Armenian folk musicians. Very much the heart of the concerto as a whole, this central episode is framed by a opening movement with a first theme full of energy and a second which is more languorous, and a finale whose palpable folk inspiration calls on a display of ebullient and obsessively repetitive virtuosity. Once again, Perlman demonstrated the depth and breadth of his musical curiosity by enriching his discography with a work whose popularity was still limited to its country of origin and, in the process, completing his wide-ranging explorations of the Russian repertoire. The album is rounded off with an apt coupling in the shape of Glazunov’s orchestration of Tchaikovsky’s Méditation , the opening movement of his triptych Souvenir d’un lieu cher , in one of Perlman’s many collaborations with Zubin Mehta at the helm of the Israel Philharmonic Orchestra . Jean-Michel Molkhou Translation: Susannah Howe 4 KHATCHATOURIAN: CONCERTO POUR VIOLON Resté longtemps au seul répertoire de violonistes russes tel Mischa Elman, ou surtout soviétiques comme Leonid Kogan, Julian Sitkovetsky ou Igor Oïstrakh, le concerto de Khatchatourian avait rarement connu, avant celui d’Itzhak Perlman, la faveur d’enregistrements occidentaux (Ricci, Szeryng). Dédié à David Oïstrakh, dont les interprétations de concert comme de studio sont restées légendaires, l’œuvre fut écrite durant l’été 1940, tandis que le compositeur séjournait dans sa maison à l’ouest de Moscou, havre de paix parmi les forêts de pins. « Là, je travaillais sans effort… les thèmes surgissaient en moi avec une telle profusion que j’avais du mal à les mettre en ordre », écrira-t-il. La facilité, la spontanéité, le mordant et la flexibilité de l’invention mélodique de Khatchatourian sont clairement mis en évidence dans l’ Andante sostenuto, écrit dans un style libre et quasi improvisé, qui évoque l’art des musiciens populaires arméniens, les ashugs . Véritable ossature à partir de laquelle a été conçu le concerto tout entier, cet épisode central est précédé d’un premier mouvement, énergique dans son motif initial puis plus langoureux dans un second thème, tandis qu’il est suivi d’un final dans lequel l’élément folklorique très présent offre à l’instrument soliste une virtuosité répétitive, sauvage et obsédante. Une fois encore Perlman démontrait l’étendue de sa curiosité, en enrichissant son répertoire d’une œuvre dont la popularité était à l’époque encore limitée à sa patrie d’origine, complétant ainsi sa vaste exploration du répertoire russe. En naturel complément de programme, le violoniste proposait ici, dans l’orchestration d’Alexandre Glazounov, la Méditation de Tchaïkovski, premier volet du triptyque Souvenir d’un lieu cher , signant l’une de ses nombreuses collaborations avec Zubin Mehta à la tête de l’Orchestre philharmonique d’Israël. Jean-Michel Molkhou 5 CHATSCHATURJAN: VIOLINKONZERT Dem Konzert von Chatschaturjan, das lange Zeit auf das Repertoire russischer Geiger wie Mischa Elman und vor allem sowjetischer Interpreten wie Leonid Kogan, Julian Sitkowetski oder Igor Oistrach beschränkt blieb, war — vor Itzhak Perlmans Aufnahme — selten die Gunst westlicher Einspielungen (Ricci, Szeryng) zuteil geworden. Das Werk, David Oistrach gewidmet, dessen Interpretationen im Konzert wie im Studio legendär geworden sind, entstand im Sommer 1940, als sich der Komponist in seinem Haus westlich von Moskau aufhielt, in einer Oase der Ruhe inmitten von Kiefernwäldern. “Dort ging mir die Arbeit mühelos von der Hand,… die Themen tauchten in einer solchen Fülle aus mir auf, dass ich Mühe hatte, sie in eine Reihenfolge zu bringen”, schrieb Chatschaturjan. Die Leichtigkeit, Spontaneität, die Lebendigkeit und Flexibilität seiner melodischen Erfindung kommen deutlich zum Ausdruck im Andante sostenuto, das in einem freien, fast improvisierten Stil geschrieben ist, der an die Kunst armenischer Volksmusiker, der Aschugs, denken lässt. Dieser mittleren Episode, die das Grundgerüst für das gesamte Konzert darstellt, geht ein erster Satz voraus, der in seinem Eingangsmotiv energisch, im zweitem Thema eher sehnsuchtsvoll ist, während das Finale mit seinem sehr ausgeprägten folkloristischen Element dem Solisten wiederholt Gelegenheit gibt zu wilder, drängender Virtuosität. Wieder einmal zeigt Perlman, wie weit seine Wissbegier reicht: Er hat sein Repertoire um ein Werk bereichert, dessen Popularität damals noch auf sein Ursprungsland beschränkt war und mit dem er die ausgedehnte Erkundung des russischen Repertoires abrundet. Als natürliche Ergänzung bietet der Geiger, in der Orchestrierung von Alexander Glasunow, Tschaikowskys Méditation , den ersten Teil eines dreisätzigen Werks, Souvenir d’un lieu cher — hier wieder, wie so oft, mit dem Israel Philharmonic Orchestra unter der Leitung von Zubin Mehta. Jean-Michel Molkhou Übersetzung: Gudrun Meier 6 RECORDING LOCATION Frederic R. Mann Auditorium, Tel Aviv, 6, 7 & 12 July 1983 PRODUCE R Suvi Raj Grubb BALANCE ENGINEER Michael Sheady PUBLISHER Hans Sikorski, Hamburg (Khachaturian) COVER PHOTO Original cover artwork; photo by Christian Steiner 7 Zubin Mehta, Itzhak Perlman and producer Suvi Raj Grubb Photo: © Gregory Rozanski 8 Paganini: Mendelssohn Saint-Saëns Vivaldi: Concerto No.1 Bruch: Chausson · Ravel The Four Seasons Sarasate: Carmen Violin Concertos (1975) (1976) Fantasy (1973) Volume 09 Volume 13 (1972) Volume 05 0825646073979 0825646073870 Volume 01 0825646074068 Itzhak Perlman Itzhak Perlman 0825646074181 Itzhak Perlman Orchestre de Paris London Philharmonic Itzhak Perlman London Symphony Jean Martinon Orchestra Royal Philharmonic Orchestra Orchestra André Previn Lawrence Foster J.S. Bach: Bartók: Violin Joplin: The Easy Bruch: Violin Concertos Concerto No.2 Winners & Other Scottish Fantasy Double Concertos (1974) Rags Violin Concerto (1972 & 1975) Volume 06 (1975) No.2 Volume 02 0825646074044 Volume 10 (1977) 0825646074143 Itzhak Perlman 0825646073955 Volume 14 Itzhak Perlman London Symphony Itzhak Perlman 0825646073856 Pinchas Zukerman Orchestra André Previn piano Itzhak Perlman violin André Previn New Philharmonia Neil Black oboe Orchestra English Chamber Jesús López-Cobos Orchestra Daniel Barenboim Paganini: Encores Stravinsky: Brahms: 24 Caprices (1974 & 1979) Divertimento Violin Concerto (1972) Volume 07 Suite Italienne (1977) Volume 03 0825646074013 Duo concertant Volume 15 0825646074136 Itzhak Perlman (1976) 0825646073832 Itzhak Perlman Samuel Sanders piano Volume 11 Itzhak Perlman 0825646073931 Chicago Symphony Itzhak Perlman Orchestra Bruno Canino piano Carlo Maria Giulini Wieniawski: Violin Dvo ˇrák: Itzhak Perlman Duets for two Concertos 1 & 2 Violin Concerto plays Fritz Kreisler violins (1973) Romance (1980) (1977) Volume 04 (1975) Volume 12 Volume 16 0825646074082 Volume 08 0825646073894 0825646073801 Itzhak Perlman 0825646073993 Itzhak Perlman Itzhak Perlman London Philharmonic Itzhak Perlman Samuel Sanders piano Pinchas Zukerman Orchestra London Philharmonic violin Seiji Ozawa Orchestra Daniel Barenboim 9 Goldmark: Violin Sibelius: Violin The Baroque Album Prokofiev: Violin Concerto No.1 Concerto Oboe Quartets Concertos Sarasate: Sinding: Suite Trio Sonatas (1982) Zigeunerweisen (1980) (1982) Volume 29 (1977) Volume 21 Volume 25 0825646079049 Volume 17 0825646073719 0825646079117 Itzhak Perlman 0825646072743 Itzhak Perlman Itzhak Perlman BBC Symphony Itzhak Perlman Pittsburgh Symphony Pinchas Zukerman Orchestra Pittsburgh Symphony Orchestra viola/violin Gennady Orchestra André Previn Ray Still oboe Rozhdestvensky André Previn Lynn Harrell cello Timothy Eddy cello Samuel Sanders harpsichord Vieuxtemps: Violin Brahms: Double Tchaikovsky: Khachaturian: Concertos 4 & 5 Concerto Piano Trio Violin Concerto (1978) (1980) (1981) Tchaikovsky: Volume 18 Volume 22 Volume 26 Méditation 0825646073788 0825646073696 0825646073603 (1984) Itzhak Perlman Itzhak Perlman Itzhak Perlman Volume 30 Orchestre de Paris Mstislav Rostropovich Vladimir Ashkenazy 0825646079032 Daniel Barenboim cello piano Itzhak Perlman Royal Concertgebouw Lynn Harrell cello Israel Philharmonic Orchestra Orchestra Bernard Haitink Zubin Mehta Tchaikovsky: Violin The Spanish Album Korngold · Conus: J.S.
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    RETROSPECTIVE SUMMER 2020 By Brian Wilson The decision to axe the ‘Second Thoughts and Short Reviews’ feature left me with a vast array of part- written reviews, left unfinished after a colleague had got their thoughts online first, with not enough hours in the day to recast a full review in each case. This is an attempt to catch up. Even if in almost every case I find myself largely in agreement with the original review, a brief reminder of something you may have missed, with a slightly different slant, may be useful – and, occasionally, I may be raising a dissenting voice. Index [with page numbers] Malcolm ARNOLD Concerto for Organ and Orchestra – see Arthur BUTTERWORTH Johann Sebastian BACH Concertos for Harpsichord and Strings – Volume 1_BIS [2] Johann Sebastian BACH, Georg Philipp TELEMANN, Carl Philipp Emanuel BACH The Father, the Son and the Godfather_BIS [2] Sir Arnold BAX Morning Song ‘Maytime in Sussex’ – see RUBBRA Amy BEACH Piano Quintet (with ELGAR Piano Quintet)_Hyperion [9] Sir Arthur BLISS Piano Concerto in B-flat – see RUBBRA Benjamin BRITTEN Serenade for Tenor, Horn and Strings, etc._Alto_Regis [15, 16] Arthur BUTTERWORTH Symphony No.1 (with Ruth GIPPS Symphony No.2, Malcolm ARNOLD Concerto for Organ and Orchestra)_Musical Concepts [16] Paul CORFIELD GODFREY Beren and Lúthien: Epic Scenes from the Silmarillion - Part Two_Prima Facie [17] Sir Edward ELGAR Symphony No.2_Decca [7] - Sea Pictures; Falstaff_Decca [6] - Falstaff; Cockaigne_Sony [7] - Sea Pictures; Alassio_Sony [7] - Violin Sonata (with Ralph VAUGHAN WILLIAMS Violin Sonata; The Lark Ascending)_Chandos [9] - Piano Quintet – see Amy BEACH Gerald FINZI Concerto for Clarinet and Strings – see VAUGHAN WILLIAMS [10] Ruth GIPPS Symphony No.2 – see Arthur BUTTERWORTH Alan GRAY Magnificat and Nunc dimittis in f minor – see STANFORD Modest MUSSORGSKY Pictures from an Exhibition (orch.
  • Sean Lee Biography (Updated May 2019)

    Sean Lee Biography (Updated May 2019)

    5/31/2019 SeanLeeBiography - Google Docs Sean Lee Biography (Updated May 2019) Full-length Bio (362 words) With performances described by the New York Times as “breathtakingly beautiful”, violinist Sean Lee has captured the attention of audiences worldwide with his lively performances of the classics. A recipient of Lincoln Center’s Avery Fisher Career Grant, his debut album, released by EMI Classics, reached the iTunes top 20 classical bestsellers list. In 2018, Lee released his second album, SONGBOOK, and continues to draw attention to his educational YouTube series, Paganini POV, which utilizes modern technology to share a unique perspective on violin playing. Lee has appeared as a soloist with orchestras including the San Francisco Symphony, Jerusalem Symphony, Utah Symphony, Orchestra Del Teatro Carlo Felice, and Israel Camerata Jerusalem. His recital appearances have taken him to Carnegie Hall’s Weill Hall, Tel Aviv Museum of Art, Festival di Carro Paganiniano of Italy, and Vienna’s Konzerthaus. A top prizewinner at the “Premio Paganini” International Violin Competition, Lee embraces the legacy of his late mentor, violinist Ruggiero Ricci, as one of few violinists who dare to perform the complete 24 Caprices of Niccolò Paganini in recital. Lee has collaborated in performances with Itzhak Perlman, James Galway, Deborah Voigt, and members of the Emerson and Guarneri String Quartets. As an artist with the Chamber Music Society of Lincoln Center, Lee performs regularly at Lincoln Center, as well as on tour internationally. Recent international performances with the Chamber Music Society of Lincoln Center include Lobkowicz Palace in Prague, Czech Republic; LG Arts Center in Seoul, Korea; National Theater in Taipei, Taiwan; and the White Nights Festival in St.