The Rock, symphonic prelude for large orchestra H363
Ludwig van Beethoven
Piano Concerto No. 4 in G Major op. 58
Estampes for orchestra H 369
Praga, symphonic poem op. 26
Double for orchestra
Double Concerto for 2 String Orchestras, Piano and Timpani H 271
Ein Heldenleben, op. 40
Newly appointed as Music Director and Chief Conductor of the Czech Philharmonic, Semyon Bychkov will assume the title at the beginning of the 2018/19 season. Born in Leningrad in 1952, Bychkov emigrated to the United States in 1975 and has been based in Europe since the mid-1980’s. In common with the Orchestra, Bychkov has one foot firmly in the cultures both of the East and the West.
Conducting the Czech Philharmonic for the opening of the 2017 Smetana Litomyšl Festival, Hospodářské noviny wrote of the performance of Tchaikovsky’s Francesca da Rimini: “the Czech Philharmonic is currently on excellent form and trusts Semyon Bychkov. And, being battle-hardened from working around the world with the best orchestras on the planet, he gives the Philharmonic players the room to develop their musical potential. The result is a unique musical creation.”
Following his early concerts with the Czech Philharmonic in 2013, Bychkov and the Orchestra devised The Tchaikovsky Project, a series of concerts, residencies and studio recordings which allowed them the luxury of exploring Tchaikovsky’s music together, both in Prague’s Rudolfinum and abroad. The first fruit of The Tchaikovsky Project – a recording of Symphony No. 6 coupled with the Romeo & Juliet Fantasy-Overture – was released by Decca in October 2016, and was followed in August 2017 by the release of the Manfred Symphony. The Tchaikovsky Project culminates in 2019 with residencies in Vienna and Paris, and Decca’s release of all Tchaikovsky’s symphonies, the three piano concertos, Romeo & Juliet, Serenade for Strings and Francesca da Rimini.
Semyon Bychkov won the Rachmaninov Conducting Competition when he was 20 years old. Two years later, having been denied his prize of conducting the Leningrad Philharmonic Orchestra, he left the former Soviet Union where, aged five, he was singled out for an extraordinarily privileged education in music. Initially studying piano, Bychkov was later selected to study at the Glinka Choir School where he received his first conducting lesson aged 13. Four years later he was accepted at the Leningrad Conservatory as a student of the legendary Ilya Musin.
By the time Bychkov returned to St Petersburg in 1989 as the Philharmonic’s Principal Guest Conductor, he had enjoyed success in the US as Music Director of the Grand Rapids Symphony Orchestra and the Buffalo Philharmonic. His international career, which began in France with Opéra de Lyon and at the Aix-en-Provence Festival, had taken off when a series of high-profile cancellations resulted in invitations to conduct the New York Philharmonic, Berlin Philharmonic and Royal Concertgebouw Orchestras. In 1989, he was named Music Director of the Orchestre de Paris; in 1997, Chief Conductor of the WDR Symphony Orchestra Cologne; and the following year, Chief Conductor of the Dresden Semperoper.
Bychkov’s repertoire is wide-ranging both in the concert hall and in the opera house. He conducts in all the major houses including La Scala, Opéra national de Paris, Dresden Semperoper, Wiener Staatsoper, New York’s Metropolitan Opera, the Royal Opera House, Covent Garden and Teatro Real. Madrid. While Principal Guest Conductor of Maggio Musicale Fiorentino, his productions of Janáček’s Jenufa, Schubert’s Fierrabras, Puccini’s La bohème, Shostakovich’s Lady Macbeth of Mtsensk and Mussorgsky’s Boris Godunov were awarded the prestigious Premio Abbiati. He recently conducted Wagner’s Parsifal at the Wiener Staatsoper, and will return in 2018 with the same opera. Other new productions in Vienna include Strauss’ Der Rosenkavalier and Daphne, Wagner’s Lohengrin and Mussorgsky’s Khovanshchina; while in London, he made his debut with a new production of Strauss’ Elektra, and subsequently conducted new productions of Mozart’s Così fan tutte, Strauss’ Die Frau ohne Schatten and Wagner’s Tannhäuser.
On the concert platform, the combination of innate musicality and rigorous Russian pedagogy has ensured that Bychkov’s performances are highly anticipated. In the UK, in addition to regular performances with the London Symphony Orchestra, his honorary titles at the Royal Academy of Music and the BBC Symphony Orchestra - with whom he appears annually at the BBC Proms – reflect the warmth of the relationships. In Europe, he tours frequently with the Royal Concertgebouw Orchestra, the Vienna Philharmonic and Munich Philharmonic, as well as being an annual guest of the Berlin Philharmonic, the Leipzig Gewandhaus, the Orchestre National de France and the Accademia Nazionale di Santa Cecilia; in the US, he can be heard with the New York Philharmonic, Chicago Symphony, Los Angeles Symphony, Philadelphia and Cleveland Orchestras.
Recognised for his interpretations of the core repertoire, Bychkov has worked closely with many extraordinary contemporary composers including Luciano Berio, Henri Dutilleux and Maurizio Kagel. In recent seasons he has worked closely with Renée Staar, Thomas Larcher, Richard Dubignon, Detlev Glanert and Julian Anderson, conducting premières of their works with the Vienna Philharmonic Orchestra, New York Philharmonic, Royal Concertgebouw and BBC Symphony Orchestra at the BBC Proms.
Bychkov’s recording career began in 1986 when he signed with Philips and began a significant collaboration which produced an extensive discography with the Berlin Philharmonic, Bavarian Radio, Royal Concertgebouw, Philharmonia, London Philharmonic and Orchestre de Paris. Subsequently a series of benchmark recordings - the result of his 13-year collaboration (1997-2010) with WDR Symphony Orchestra Cologne – include a complete cycle of Brahms Symphonies, and works by Strauss (Elektra, Daphne, Ein Heldenleben, Metamorphosen, Alpensinfonie, Till Eulenspiegel), Mahler (Symphony No. 3, Das Lied von der Erde), Shostakovich (Symphony Nos. 4, 7, 8, 10, 11), Rachmaninov (The Bells, Symphonic Dances, Symphony No. 2), Verdi (Requiem), Detlev Glanert and York Höller. His recording of Wagner’s Lohengrin was voted BBC Music Magazine’s Record of the Year in 2010; and his recent recording of Schmidt’s Symphony No. 2 with the Vienna Philharmonic was selected as BBC Music Magazine’s Record of the Month.
Semyon Bychkov was named 2015’s Conductor of the Year by the International Opera Awards.
Onn 17 April 1958, Cleveland Orchestra premiered symphonic prelude for large orchestra The Rock H 363. This time the orchestra commissioned the work from Martinů directly, largely thanks to its chief-conductor, George Szell. It was written to celebrate the orchestra’s 40th anniversary, which was probably the reason for the composer’s inspiration in a milestone of American history: the story of the first settlers in New England, the “Pilgrim Fathers”. The title “The Rock” refers to a place in Cape Cod near Plymouth in Massachusetts, where the first settlers headed by William Bradford disembarked from the Mayflower in autumn 1620. The music is not, however, explicitly programmatic: what program there is, is rather sketchy. A work in a single movement of about thirteen-minutes duration, it is meditative in character, and with its loose form and colourful sound is close to other late orchestral works by Martinů, Symphony No. 6 (Fantaisies symphoniques) and The Parables.
Few works are so explicitly about Prague as Josef Suk’s tone poem praising the capital of the kingdom and later republic, Praga Op 26. Suk was a member of the Bohemian Quartet, which went on a long concert tour in 1904, which allegedly in turn inspired the composition, with Suk reminiscing about the city that was then his artistic home. Although the composer did not give his tone poem a specific program, his use of the hymn Ye who are God’s warriors leaves no doubt that the glory of Hussite Prague is at the heart of the work.
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