Widely acclaimed as a key figure in the music of our time and as a uniquely significant interpreter of piano repertoire from every age, Pierre-Laurent Aimard enjoys an internationally celebrated career.
He performs throughout the world each season with major orchestras under conductors including Esa-Pekka Salonen, Vladimir Jurowski, Peter Eötvös, Sir Simon Rattle and Riccardo Chailly. He has been invited to create, direct and perform in a number of residencies, with projects at Carnegie Hall, New Yorkʼs Lincoln Center, Viennaʼs Konzerthaus, Berlinʼs Philharmonie, the Lucerne Festival, Mozarteum Salzburg, Cité de la Musique in Paris, the Tanglewood Festival and Londonʼs Southbank Centre. Aimard is also the Artistic Director of the prestigious and historic Aldeburgh Festival. Pierre-Laurent was Artist-in-Residence with the Vienna Symphony Orchestra for the 2015/16 season, performing all of the Beethoven piano concertos under the baton of Philippe Jordan. He remained committed to the music of the 20th and 21st centuries with a major Stockhausen project for Musica Viva in Munich followed by concerts in Paris and Amsterdam, and a performance of Lachenmann’s Ausklang in Luxembourg. Other highlights included solo recitals in Amsterdam, Sydney, Tokyo and London.
Born in Lyon in 1957, Pierre-Laurent Aimard studied at the Paris Conservatoire with Yvonne Loriod and in London with Maria Curcio. Early career landmarks included winning first prize in the 1973 Messiaen Competition and being appointed, three years later, by Pierre Boulez to become the Ensemble intercontemporainʼs first solo pianist.
Aimard has had close collaborations with many leading composers including György Kurtag, Stockhausen, Carter, Pierre Boulez and George Benjamin and had a long association with Ligeti, recording his complete works for piano. Most recently he performed the world premiere of Harrison Birtwistle’s Responses: Sweet disorder and the carefully careless, as well as Carter’s last piece Epigrams for piano, cello and violin, which was written for Pierre-Laurent and premiered at the Aldeburgh Festival in 2013. Through his professorship at the Hochschule Köln as well as numerous series of concert lectures and workshops worldwide, he sheds an inspiring and very personal light on music of all periods. During the 2008/09 season Aimard was an Associate Professor at the Collège de France, Paris and he is a member of the Bayerische Akademie der Schönen Künste. He was the recipient of the Royal Philharmonic Society’s Instrumentalist Award in spring 2005 and was named “Instrumentalist of the Year” by Musical America in 2007. In 2015 he launched a major online resource centred on the performance and teaching of Ligeti’s piano music with filmed masterclasses and performances in collaboration with Klavier-Festival Ruhr.
Pierre-Laurent has made many highly successful recordings. His first DG release, Bachʼs Art of Fugue, received both the Diapason dʼOr and Choc du Monde de la Musique awards, debuted at No.1 on Billboardʼs classical chart and topped iTunes’ classical album download chart. In recent years Pierre-Laurent has been honoured with ECHO Klassik Awards, most recently in 2009 for his recording of solo piano pieces, Hommage à Messiaen, a Grammy award in 2005 for his recording of Ives’ Concord Sonata and Songs and he was also presented with Germany’s Schallplattenkritik Honorary Prize in 2009. Further releases for DG – of The Liszt Project in 2011 and Debussy Préludes in 2012 – were joined by a new recording of Bach’s Wohl Tempered Klavier Book 1, which was released in 2014.
A consummate musician, masterful programmer, and dynamic presence, American maestro David Robertson has established himself as one of today’s most sought-after conductors. A passionate and compelling communicator with an extensive orchestral and operatic repertoire, he has forged close relationships with major orchestras around the world through his exhilarating music-making and stimulating ideas. David Robertson launched his 11th season as music director of the St. Louis Symphony in the fall of 2015; he has also served as chief conductor and artistic director of the Sydney Symphony Orchestra since January 2014.
Highlights of the 2015/16 season with the St. Louis Symphony included a California tour featuring Messiaen’s Des Canyons aux étoiles..., with video imagery by photographer Deborah O’Grady, and soloist Timothy McAllister performing John Adams’s Saxophone Concerto. The concerto was part of the latest St. Louis Symphony recording, City Noir, on Nonesuch, which received the 2014 Grammy Award for Best Orchestral Performance. Other highlights for Mr. Robertson and the St. Louis Symphony were the U.S. Premiere of Tan Dun’s Contrabass Concerto and John Adams’s most recent symphony for violin, Scheherazade.2 – dramatic symphony for violin and orchestra, performed by Leila Josefowicz (co-commissioned by the New York Philharmonic and Amsterdam’s Royal Concertgebouw). The Scheherazade.2 performances were recorded live by Nonesuch for future release.
To celebrate his decade-long tenure with the St. Louis Symphony in 2014/15, David Robertson showcased 50 of the orchestra’s musicians in solo or solo-ensemble performances throughout the season. Other highlights included a concert performance of Verdi’s Aida featuring video enhancements by S. Katy Tucker, and a return to Carnegie Hall with a program featuring the music of Meredith Monk. In 2013/14 David Robertson led the St. Louis Symphony at Carnegie Hall in Britten’s Peter Grimes on the Britten centennial. In March 2015, David Robertson led a performance of Holst’s The Planets with the Sydney Symphony Orchestra and a “Global Orchestra,” in which musicians around Australia performed along through the Internet.
Born in California, David Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to conducting. He received Columbia University’s 2006 Ditson Conductor’s Award, and he and the St. Louis Symphony are recipients of several major awards from ASCAP and the League of American Orchestras, including the 2008/09 Award for Programming of Contemporary Music as well as the 2005/06 Morton Gould Award for Innovative Programming. Musical America named David Robertson Conductor of the Year in 2000. In 2010 he was elected a Fellow of the American Academy of Arts and Sciences, and that same year he received the Excellence in the Arts award from the St. Louis Arts and Education Council. In 2011 he was made a Chevalier de l’Ordre des Arts et des Lettres.
Valérie Hartmann-Claverie studied piano, harp, ondes Martenot and chamber music at college followed by further study of the ondes Martenot at the Paris Conservatoire National Supérieur de Musique with Jeanne Loriod.
In 1973 she gave her debut concert in Vienna, and now performs throughout Europe with prestigious orchestras such as the London Symphony, Berlin Philharmonic, Boston Symphony, New York Philharmonic, Mozarteum Orchester Salzburg, New Japan Orchestra, BBC Symphony Orchestra London, BBC Symphony Orchestra Manchester, Wiener Symphoniker, Orchestre National de France, Orchestre Philharmonique de Radio-France, Orchestre Philharmonique de Monte-Carlo, Hamburger Philarmoniker, Orchestra Sinfonica Nazionale della RAI Torino, Accademia Nazionale di Santa Cecilia Roma, Münchner Philharmoniker, Mahler Chamber Orchestra, Saint Paul Chamber Orchestra, SWR Sinfonie Orchester, London Sinfonietta, Radio Philharmonisch Orkest Holland, R.S.O. Wien, Oslo Filharmonien, Deutsche Symphonie-Orchester Berlin… with conductors as such as Seiji Ozawa, Kent Nagano, Kurt Masur, Marek Janowski, Hans Vonk, Lothar Zagrosek, Leif Segerstam, Reinbert de Leeuw, Hubert Soudant, Eliahu Inbal, Myung-Whun Chung, Zubin Mehta, Yan Pascal Tortelier, Edo de Waart, Daniel Harding, Sylvain Cambreling, Pascal Rophé, Bertrand de Billy, Hans Zender, Pierre Boulez, Jukka Pekka Saraste, Ingo Metzmacher, Charles Dutoit, Esa-Pekka Salonen…
She took part in the creation of Olivier Messiaen’s opera Saint François d’Assise and she is regularly invited for playing this work, all around the world.
Valérie Hartmann-Claverie was a member of the Loriod Sextet from its foundation in 1974 until 1995, and in 1996 she founded the quartet “Ondes de Choc”.
She also collaborated with the famous English Rock band Radiohead, playing live with Tom York for a show organized by the French Channel Canal+.
Johnny Greenwood, the guitarist and ondist of Radiohead later offered her to interpret and record his piece Smear for the first time in London, which was included in the movie There will be blood’s original soundtrack.
As well as continuing her successful solo career, she teaches the ondes Martenot at the Paris Conservatoire National Supérieur de Musique.
Commissioned by Serge Koussevitzky for the Boston Symphony Orchestra, Olivier Messiaen’s Turangalîla-Symphonie is the second part of the composer’s “Tristan Trilogy”, alongside Harawi (Song of love and death), a song cycle for soprano and piano, and Cinq rechants (Five refrains) for mixed choir. In Sanskrit the word lîla means “play” (in the sense of divine action on the cosmos), and turanga signifies the passage of time; the combination of the two words expresses movement, love, life and death.
Integral to Messiaen’s musical language are the modes (tone rows) he himself created, and the complementary (non-metric) rhythms. The other component that gives Messiaen’s music its typical character is the sound. Messiaen was one of the first composers to utilise the invention of the radio telegrapher Maurice Martenot, named the ondes Martenot (Martenot waves) after him, which generates sound electronically. Together with various percussion instruments, it gives a mystical ambience to Messiaen’s symphony. In addition to the string section, the work calls for double and triple winds, and both tuned and unturned percussion (celesta, glockenspiels, vibraphone, tambourine, maracas, tam-tam, as well as instruments of Turkish, Chinese and Indonesian origin); the piano is given a solo role.
A symphony in ten movements, described by Messiaen as “a love song”, the Turangalîla-Symphonieis based on four themes. The “statue theme” is primarily entrusted to trombones, and the “flower theme” to clarinets. Their contrast corresponds to that between the masculine and the feminine principles. In the sixth movement, the two themes develop into a new one: their combination produces a love theme. The fourth main theme is chordal.
The Introduction presents the first two themes, “statue” and “flower”. Chant d’amour I is based on a contrast between the sound of trumpets and that of the ondes Martenot and strings. Turangalîla I consists of rhythmic play. Chant d’amour II could be viewed as a scherzo with two trios. The fifth movement (Joie du sang des étoiles) represents the cosmic transformation of love. In the Jardin du sommeil d’amour the lovers find themselves outside time. Here Messiaen deployed imitation of birdsong, something that fascinated him throughout his life. Turangalîla II brings a harsh contrast, and the eighth movement, Développement d’amour, could be thought of as the work’s development section. Turangalîla III presents further play with rhythm, the main role in which is given to the percussion. The Final returns to the love theme of the sixth movement.
Even before the composition was finished, the third, fourth and fifth movements were performed in February 1948 at the Théâtre des Champs-Elysées in Paris, billed as Trois Tâla (tâla meaning rhythm). The complete work was premiered on 2 December 1949 in Boston, with Leonard Bernstein conducting, the composer’s future wife Yvonne Loriod at the piano, and Ginette Martenot, the inventor’s sister, at the ondes Martenot. The same forces also performed the Turangalîla-Symphonie at Carnegie Hall in New York on 10 December.
The European premiere took place on 25 July 1950 at the Aix-en-Provence festival, again with Yvonne Loriod and Ginette Martenot, and Orchestre national de la RTF conducted by Roger Désormière. The Paris premiere followed in 1954 under the baton of the German conductor Rudolf Albert, as was Messiaen’s wish; Albert became recognized for promoting the work. Today the Turangalîla-Symphonie ranks among the masterpieces of twentieth-century music that leading orchestras and conductors have in their repertoire.
Wed – Fri / 6:30 p.m. / Rudolfinum – Suk Hall or Western Lounge
Location is specified for each concert in the concert programme and navigation signs at the Rudolfinum.
Pre-concert talks are offered free of charge as a bonus before the evening concerts of the A and B subscription series. They are given by conductors, soloists and members of the Czech Philharmonic, as well as musicologists and music writers who take part in discussions or lectures which will prepare for the evening concert.
They are presented by Eva Hazdrová-Kopecká, Pavel Ryjáček or Petr Kadlec.
This website uses to provide services, personalize ads, and analyzing traffic cookies.