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Nes Chamber Orchestra Dmitry Sitkovetsky Director/Violín Bella Davidovich Piano

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Nes Chamber Orchestra Dmitry Sitkovetsky Director/Violín Bella Davidovich Piano AUDITORIO PALACIO DE CONGRESOS ZARAGOZA XIVTEMPORADADE SALA MOZART •••••••••••••••••••••••••••••••••••••••••••••• GRANDESCONCIERTOSDE FEBRERO/MAYO 2008 martes 15 de abril • 20,15 horas NES CHAMBER ORCHESTRA DMITRY SITKOVETSKY DIRECTOR/VIOLÍN BELLA DAVIDOVICH PIANO NES CHAMBER ORCHESTRA La New European Strings (NES) es una orquesta de cámara fundada por el violinista Dmitry Sitkovetsky, que combina las cualidades de la escue- la rusa, como el dominio técnico y la intensidad en la ejecución musi- cal, con las mejores tradiciones de música de cámara, así como un com- pleto conocimiento de varios estilos musicales, marcas de la escuela de la música occidental. La NES se formó en mayo de 1990, cuando veinte instrumentistas de cuerda de diez países europeos se unieron por primera vez en el Festi- val de Música de Korsholm (Finlandia), donde fueron orquesta en resi- dencia durante tres años. También estuvieron durante dos años en el Festival de Umea (Suecia), y cinco años como orquesta residente del Festival Internacional de Música de Seattle (EE. UU.). De nuevo, ha sido la orquesta en residencia de otro festival, como el Festival Tuscan Sun en Cortona, desde su creación en 2003, y ha regresado por aclamación popular a las cuatro ediciones siguientes. Ha participado en numerosos festivales, como los de Schleswig-Holstein, Festival Menuhin en Gstaad, Festival de Piano de la Roque d’Anthéron, Stavanger en Noruega, Pablo Casals en Prades y Klangbogen en Viena, así como en los Festivales de Mallorca y Menorca, y las Jornadas de Piano Ciudad de Oviedo. Duran- te la temporada de invierno, la NES toca en los teatros más importantes de Europa, como el Musikverein y Konzerthaus en Viena, Gasteig y Her- kulessaal en Múnich, Köln Philharmonie, Musikhalle de Hamburgo, Lie- derhalle de Stuttgart, Concertgebouw de Ámsterdam, Museo del Louvre de París, Auditorio Nacional de Música en Madrid y Barbican de Londres. En abril de 2005 realizó una gira en EE. UU. que les llevó a dieciocho ciudades, desde el Carnegie Hall de Nueva York hasta San Francisco y de Seattle a Houston, Filadelfia y Atlanta. Entre los solistas que han actuado con la NES cabe mencionar a Barbara Hendricks, John Brow- ning, Bella Davidovich, Evgeny Kissin, Yuri Bashmet, Gerard Caussé, David Geringas, Lynn Harrell, Truls Mørk, Boris Pergamenschikov, Vadim Repin, Constantine Lifschitz, Evelyn Glennie, Sergei Nakariakov, Julian Rachlin y Bobby McFerrin. Además, en 1993 la Orquesta actuó en un programa documental sobre Dmitry Sitkovetsky para el South Bank Show de Inglaterra, que siguió a la NES en su gira con Martha Argerich, desde Finlandia hasta la Filarmónica de San Petersburgo. En la actualidad, tiene en repertorio más de veinticinco transcripciones de obras, que van desde Bach hasta Wolf, Shostakovich y Schnittke. La transcripción hecha por Dmitry Sitkovetsky de las «Variaciones Goldberg» de Bach para orquesta de cuerda, grabada en CD para Warner Classics Nonesuch, tuvo una fantástica acogida por parte del público y la crítica. Se situó en el Top 10 de los Clásicos de la Revista Billboard durante muchas semanas, desde que salió en EE. UU. En primavera de 2005 salió su última grabación con Shostakovich y Stravinski para Hanssler Clas- sics. La pasada temporada, y con motivo del 75º aniversario del compo- sitor Rodion Shchedrin, ofreció un concierto dedicado íntegramente a las obras de este compositor. DMITRY SITKOVETSKY DIRECTOR/VIOLÍN Dmitry Sitkovetsky disfruta de una magnífica carrera internacional. Nació en Baku (Azerbayán) y creció en Moscú, donde estudió en el Conser- vatorio. En 1977 emigró al oeste para continuar sus estudios en la Jui- lliard School de Nueva York, y dos años más tarde ganó el Primer Pre- mio del Concurso Fritz Kreisler en Viena. Como violinista ha tocado con las principales orquestas del mundo, como la Filarmónica de Berlín, Leipzig Gewandhaus, Sinfónica de Londres, Philharmonia, Sinfónica NHK, Chicago, Filadelfia, Los Ángeles, Filarmónica de Nueva York y Cle- veland. Asimismo, ha actuado en los Festivales de Salzburgo, Lucerna, Edimburgo, Verbier, Estambul y Georges Enescu, y es también uno de los artistas fundadores del Festival Tuscan Sun desde 2003. Fue Director Titular de la Orquesta del Úlster, y desde 2003 es Director Musical de la Orquesta Sinfónica de Greensboro en EE. UU. y Principal Director Invi- tado de la Orquesta del Estado de Rusia. Ha dirigido la Filarmónica de Londres, Royal Philharmonic, Sinfónica de la BBC, Sinfónicas de San Francisco, St Louis, Seattle, Milwaukee, Santa Cecilia y Ensemble Orquestal de París. Sitkovetsky es el fundador de la Orquesta de Cáma- ra New European Strings (NES), y en marzo de 2006 fue nombrado Artis- ta Residente de la Orquesta Sinfónica de Castilla y León. Desde su magnífica transcripción de las «Variaciones Goldberg» de Bach para trío de cuerdas, hace veinte años, ha transcrito obras de Haydn, Beethoven, Brahms, Dohnányi, Bartók, Tchaikovski, Shostakovich, Stra- vinski y Schnittke, mayoritariamente para orquesta de cuerdas. Desde 1985 es miembro de la ASCAP (Sociedad Americana de Compositores, Autores y Editores) y sus transcripciones son publicadas por Doblinger, Sikorski y Schirmer. Posee una amplia discografía que incluye los prin- cipales conciertos para violín, así como numerosas obras de música de cámara y orquestal como director. A finales de ese año salió para el sello Hänsler Edition los tríos de Shostakovich y Mieczyslaw Weinberg con David Geringas y Jasha Zemtsov. Posteriormente, ha grabado sonatas de Mozart con Antonio Pappano al piano. En los últimos años, sus cedés con obras de violín y piano de Rodion Shchedrin, con el compositor al piano, reflejan creciente relación con la música contemporánea. Estrenó el concierto para violín de John Casken, escrito para Sitkovetsky (1995) y Krzystof Meyer (2000), e interpreta a menudo obras de Dutilleux, Pen- derecki, Schnittke, Pärt y Vasks. En el verano de 2005 interpretó dos de las obras principales de John Corigliano –su segunda sinfonía– y el «Vio- lín Rojo» como solista/director. En la última temporada dirigió a la Royal Philharmonic, Ensemble Orquestal de París, Nacional de Lille, Orquesta del Festival de Verbier y fue solista con la Concertgebouw, Cincinnati, Berlin Komische Oper, Orquesta SWR y Orquesta Südwestdeutsche Philharmonie. BELLA DAVIDOVICH PIANO Este concierto forma parte de una gira en donde Bella Davidovich actua- rá en cinco ciudades españolas, celebrando su 80º cumpleaños, junto a su hijo el violinista y director Dmitry Sitkovetsky. Nacida en 1928 en Baku (Azerbayán), empezó sus estudios de Piano a los 6 años. A los 18 ingresó en el Conservatorio de Moscú, donde estudió con Konstantin Igumnov y Jakov Flier, y en 1949 ganó el Primer Premio en el Concur- so Chopin de Varsovia. Ha tocado con los mejores directores y orques- tas mundiales en su larga y celebrada carrera musical. Colaboró como solista en 28 temporadas consecutivas con la Orquesta Filarmónica de Leningrado y ha sido profesora del Conservatorio de Moscú durante die- ciséis años. Emigró a Occidente hace ya tres décadas, y con la Peres- troika se convirtió en el primer músico soviético en el exilio que recibió una invitación oficial para actuar de nuevo en su país. Su debut ameri- cano en el Carnegie Hall en 1979, con un éxito sin precedentes, abrió un importante capítulo en su carrera. Ha tocado con Bychkov, Conlon, Doh- nányi, Dutoit, Eschenbach, Järvi, Jansons, Kondrashin, Lazarev, Leppard, Marriner, Muti, Ormandy, Oistrahk, Rostropovich, Sanderling, Temirka- nov, Shostakovich, Slatkin, Svetlanov, Tennstedt, Fedoseyev, Tilson Thomas, Waart, Weller y Zinman. En las últimas temporadas, Bella Davidovich ha actuado con la Filarmó- nica de Róterdam, Sinfónica de Islandia, Sinfónica de Radio Stuttgart, Filarmónica de Oslo, Orquesta del Úlster, Filarmónica de San Petersbur- go, Orquesta Nacional de Escocia, Orquesta del Concertgebouw, Real Filarmónica de Liverpool y Orquesta Nacional del Loira. Ofrece habi- tualmente conciertos de cámara junto a Dmitry Sitkoversky y David Geringas, y ha actuado varias veces en el Festival de Salzburgo. Celebró su 75º aniversario en agosto de 2003, con dos conciertos junto a Dmitry Sitkovetsky y otros artistas en la sala de la Concertgebouw en Ámster- dam, donde es muy querida, y dio un recital en Madrid en el Ciclo de Grandes Pianistas de Scherzo. En la temporada 2005/2006 actuó en España con la Orquesta Nacional de España, Orquesta Sinfónica de Barcelona y Sinfónica de Bilbao y en Alemania participó en el Festival de la Semana Europea de Passau y en el Festival de Música de Rheingau. Bella Davidovich es invitada regularmente como miembro del jurado de los concursos de piano más importantes como el Reina Elisabeth de Bru- selas, Chopin de Varsovia y Clara-Haskil de Ginebra. Considerada una gran pedagoga, enseña en la Juilliard School de Nueva York y ha gra- bado para las compañías discográficas Philips, Orfeo y Novalis. COMPONENTES PRIMEROS VIOLINES Alexander Sitkovetsky (concertino) Semjon Meerson Yoko Fujita Yuri Pisarevsky Grazia Raimondi Georg Liener SEGUNDOS VIOLINES Jennifer Moreau Daniel Garlitsky Eugene Tichindeleanu Gudrun Verkampt Branislava Pavlovic Eric Ramme VIOLAS Mikhail Zemtzov Aurélie Entringer Marc Charpentier Igor Bobylev Vitali Sitkovetsky VIOLONCELLOS Luigi Piovano Sergey Sudzilovsky Marius Díaz Mimi Sunnerstam CONTRABAJOS Boris Kozlov Zazaret Kurkchian COMENTARIOS AL PROGRAMA F. J. HAYDN: DOBLE CONCIERTO PARA PIANO Y VIOLÍN EN FA, HOB. XVIII:6 Frente a su inmenso y trascendental corpus sinfónico, el repertorio concertante ocupa un lugar relativamente menor en la producción musical de Franz Joseph Haydn. La mayoría de sus conciertos con solista constituyen obras juveniles, composiciones de circunstancia destinadas, en su mayoría, a resaltar el virtuosismo de los miembros de la capilla de la corte de los Esterhazy, como el violinista Luigi Tomasini o el cellista Anton Kraft. Algunos de estos conciertos se han revelado, con el paso de los años, de autoría dudosa y otros se dan hoy por perdidos. De ahí que esta parcela, en absoluto menor pero sí menos trascendente y de un alcance estético más limitado, se sitúe en un segundo plano en el conjunto del asombroso legado compositivo haydniano.
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